MACCAFERRI, MARIO
Born at Cento (Italy), 1900. Guitar virtuoso. Constructed solo guitars, some with mobile double necks. Received 2nd prize for a cello he presented at Rome, 1927. Resident at New York, 1945.
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Mario Maccaferri
fece a Cento Anno, 1925
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(with signature)
MACCARI, ANTONIO
Worked at Modena, 1885-1893. Excellent copies of a Rocca. 125, 1960.
MACCARRONE, FRANK
Worked Brooklyn, pupil of Antonio Sgarbi (Palermo). Worked for J. Friedrick for 10 years. In 1950 he retired owing to old age.
MCCARTER, JOHN
Amateur at Dalkeith (Scotland), 1912-1920. Guarnerian modelling, old Italian wood, ruby brown oil varnish.
MCCARTNEY, JAMES
Blacksmith at Mauchline (Scotland). Died 1924. Primitive outline, rough workmanship, bad varnish.
MACCARTHY, JOHN LEADER TEMPLE
Born at Calcutta (India) 1907. Pupil of A. L. Scholes, at Bedford. Modelling somewhat Stradivarian; red varnish.
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J. L. T. MacCarthy
Cambridge, England
No. . . . 1924
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MCCAULEY, JAMES OLIVER
Born at Dunbarton (New Hampshire). Worked twenty years at Boston, and spent another twenty years at Worcester. Died in 81st year at Rochester (New Hampshire), 1900. Became nationally famous as a violin maker of rare capabilities. Made the magnificent total of about 200 violins, several violas, and 20 cellos, all of the most refined workmanship. Structurally perfect, plentifully wooded, covered with a varnish of wondrous hue and transparency. Tonal quality found favour with several of the famous virtuosi touring the United States. One of the last instruments he made was titled The Spot because of the peculiar flame of the back. Deservedly considered to be equal to anything ever made in Massachusetts.
MCCOLLISTER, E. H.
Born in Illinois, 1879. Worked at Santa Cruz, 1916. And at Portland (Oregon), 1917-1920. Settled at San Rafael (California), 1921. Through careful science and patient art he made many instruments of various designs and types of tone. Oil and spirit varnishes of own preparation. Native woods generally used; Airplane spruce, and Mountain Hood maple.
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No. . . . Made 19- by
E. H. McCollister
San Rafael, Calif.
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(bearing design of a tree, and c.C, also)
MCCORD, CLIFFORD W.
Born 1886. Amateur at Saint Louis (Oklahoma). Violins of good workmanship, tonal quality favourably commented on by competent judges. Also excellent bows.
MCCORD, WILLIAM R.
Worked at Portland (Oregon), 1908.
MCCORMICK
Resident at San Jose (California), 1925.
MCEWUEN, EDWARD S.
Worked at New York and Sginau (Mich.). Established at Weston (Virginia). Cremonese models, good varnish, especially responsive tone.
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E. S. McEwuen
Jan. 1907. Maker
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E. S. McEwuen. Maker
Weston. W. Va. Oct. 1908
E. S. McEwuen
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(with stars and stripes Flag)
MACGEORGE, GEORGE
Worked with Matthew Hardie at Edinburgh, 1796-1800. Set up own premises, 1801. Died 1821. Stradivarian outline, gracefully graduated archings, raised edges, impressive scroll finely carved, accurate purfling, and attractive sound holes. Altogether well constructed instruments, but unaccountably of slender repute, more than 10 seldom realised. Spirit varnish, now of a pinkish hue, finely polished. Ringing sort of tone, quite clear but rather unsympathetic. Several replicas of the Hardie style have been disposed of as that makers work.
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Gr. M. George
Maker. Edinburgh. 1817
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Sometimes without label, but G. MGeorge Edinburgh written either across the inside of breast or back.
MACGILL, JAMES CAMPBELL
Born in Ayrshire, 1836. Made 50 violins and 3 cellos, amber varnish, no label but marked J. C. McGill, Maker, Arran, 1896 on the interior.
MCGREGOR, A.
Worked at Edinburgh, 1900-1910. Won first prizes at Exhibitions. Touches of Italian refinement in the outline, arching, and sound-holes. Nice wood happily enhanced by transparent varnish. Tonal quality of marked clarity and not without a modicum of velvety smoothness.
MACH, ALOIS
Worked at Neu-Paka (Bohemia), 1908.
MCHLER, CARL
Born 1902. Resident at Zurich, 1949. Won Exhibition medals. Many impressive replicas of a J. B. Guadagnini.
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C. Mchler, Zurich
fecit anno 1948
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Carl Mechler fecit
Zuerich anno 1950
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(monogram and cross)
Monogram also branded.
Assisted by two sons, Carl Jun (born 1930), and Georg (born 1934).
MACHLER, WILLY
Born at Zurich, 1908. Brother and pupil of Carl. Worked for Henry Werro at Berne, 1938.
MACHNITZ, ALEXANDER
Born at Budapest, 1910. Son, pupil and successor of Samuel. Strad modelling, yellow or clear red varnish.
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Machnitz Alexander
Subotiza
fecit anno. . . opus
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MACHNITZ, SAMUEL
Born 1884. Pupil of Langfurth. Worked at Subotiza (Serbia). Died 1934. Violins, violas and cellos. Strad modelling, yellow or red varnish.
Achieved happy tonal quality.
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Samuel Machnitz. Subotiza
Fecit. . . anno. . . opus. . .
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MINTOSH, JAMES
Born 1801. Died 1873. Worked at Blairgowrie (Scotland). Probably a pupil of Peter Hardie. Early specimens (dating from 1842) follow the highly arched Stainer model. Upper bouts noticeably narrow. Well formed scroll, imitation purfling, and one-piece back usually. Tone rather sharply penetrating, and none too pleasant, but suitable for dance rooms.
Examples (dating from 1869) belong to a kind of Amati-Stradivarius outline. Carefully laid purfling. Rather stiffly straight sound-holes. Workmanship has that peculiar character about it which prevents the word amateurish being applied. Spirit varnish of greyish shade, laid on very thinly. Wood often finely figured. Altogether of artistic appearance, and a tone of reasonable quality.
Productivity estimated at 200 violins, 40 cellos, and some violas.
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James MIntosh,
Violin Maker.
Blairgowrie,
March, 1842
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(printed, with month and year written)
MINTOSH, JOHN
Resident at Edinburgh, 1924. Violins treated with the splendid varnish of F. S. Angell (Bristol).
MACINTOSH, JOHN
Resident at Galston (Scotland), 1876-1926.
Versatile individual - painted a few pictures, antiquary, architect of churches, and an enthusiastic amateur in violin making. Also wrote a small book entitled Sparks from the anvil of thought. Died in poverty.
Made 60 violins, modified characteristics of Strad or Guarnerius; early dated have ink lines instead of purfling, and a dark brown spirit varnish, hard, almost repellent, and crackly. Later productions (elastic oil varnish of yellowish red shade) which are worthy to be assigned to a considerable position among Scottish emanations. Name, address, town, and date inscribed on back.
Made a violin of rafters from the house at Mauchline once occupied by Robert Burns. Another has an oil vignette of Burns, and a view of Burns Museum at Kilmarnock. Also decorated instruments with vignettes of Sir Walter Scott and Browning. One or two examples have verses inscribed interiorly.
MACINTOSH, WILLIAM Born 1852. Worked at Dundee, 1892-1915. Good Stradivarian modelling, amber oil varnish.
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Made by
William MIntosh
Dundee
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Made by
William MIntosh
10, Lorimer Street,
Dundee. Date 1900
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MCKEEN
Established at Toronto (Canada), 1925.
MKENZIE, MALCOLM
Born 1828. Died 1904. Worked at Dumbarton (Scotland). Rather large productivity. Instruments, though not reaching the loftier heights, are nevertheless removed far from the commonplace.
MACKIE, ADAM
Born at Overtown Farm, New Machar (Aberdeenshire), 1871. Served his time as a cabinet maker, ultimately learned to play the violin, fascination of construction subsequently absorbed him. He took lessons in art from James Gorrie of Glasgow, proved an apt pupil. Worked at Aberdeen, 1893-1899.
Several years spent in wandering to Australia, New Zealand and Tasmania, and his constructive talent steadily advanced to perfection. Finally, settled at Johannesburg (South Africa) where he, in 1925, was earning the gratitude of the many amateurs and professionals in that part of the world for his extraordinary exacting skill in repairing their Strads, Amatis and Storionis, etc. Made a persistent study of the old Italian violins, which has resulted in several finely worked emulations of a Strad dated 1720 and a Guarnerius, the latter modelling perhaps achieving the finest tonal standard. Scroll of exquisite curves, everything beautifully finished. Sound-holes and purfling deserve similar compliments. Fine belly wood of perfect straightness of grain, backs, ribs and scroll of Turkish maple. Oil varnish of different shades from brown to ruby red, always very effectively applied, delightfully glistening and proving that the art is not lost. Tonal quality very satisfactorily brilliant, of full sonority, splendidly smooth, no trace of harshness usually associated with new instruments and a particular responsiveness on the G string. Violins at 30, cellos at 50.
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Made by
Adam Mackie
Johannesburg. Anno 1924.
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(with decorative border and two monograms)
Violins made in Scotland not labelled. Author of a small brochure on the Secret of Italian tone, containing totally different ideas from the oceans of ink spilled by dreamers, romancists and theorists, results of 30 years practical experience, also original ideas concerning varnish.
MCKINNEY, W. H.
Resident at Sumter (S.C.) Reproductions of Strad, Maggini, Gaspar da Sal and Lupot, also an original model. Various shades of oil varnish. Workmanship and tonal quality favourably commented by competent judges. Also skilfully worked bows, Tourte and Tubbs style.
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Graduated by
Wm. H. McKinney.
Sumter. S.C. 1925.
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Made by
W. H. McKinney
Sumter S.C. 1911.
Copy Nicolas Lupot
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Both typed.
MACKINTOSH, JOHN
Born in Scotland. Worked at Dublin, 1820. Pupil of Thomas Perry. Succeeded to the business of Perry and Wilkinson. Died 1840. Made a large number of instruments, varying in design and class of workmanship. Modelling mostly somewhat Amatese-Stradivarian, sometimes of Guarnerius outline. Attempted to get an Italian appearance and succeeded fairly well. Arching always somewhat flat. Boldly poised scroll, though not consistently well finished. Sound-holes sometimes well done when of the Stradivarian type, but also rather ugly when of Guarnerian slant. Some instruments not purfled. Wood almost invariably handsome. Golden orange or yellow brown shades of good texture, varnish. Tonal quality often rather sweet but not strong. Large label with decorative border. Mackintosh stamped on back. 50, 1960.
A theorist genius, continually experimenting with baking and chemicalising the wood but ultimately had to believe that the one and only way of getting a ripe tone was to build without resorting to artificial means, and trust to age to bring along mellowness. Published a work on Violin Construction, 1837.
MACKLETT, HERMAN
Worked at Chicago, 1874.
MLAY, WILLIAM
Born in Scotland, 1815. Died about 1885. Made 50 violins, 6 violas and 6 cellos, average amateur workmanship, yellow varnish. No label. William MLay Crosshill. Kincardine-on-Forth written on back.
MNEILL, JOHN
Born at Tranent, 1850. Son of William. Worked at Edinburgh and Dublin. Died 1923. Excellent violinist. Generally Guarnerian modelling, nice workmanship, especially well shaped scrolls, amber oil varnish.
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Made by
John MNeill
Edinburgh, 1890.
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Made by
John MNeill
Dublin. 1908.
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MNEILL, THOMAS
Born at Tranent, brother of John. Worked at Dublin. Died 1917.
MNEILL, WILLIAM
Born at Tranent, 1827. Worked at Edinburgh from 1876. Guarnerian outline and sound-holes, but higher arching, excellent belly wood, plain or speckled maple for back, oil varnish.
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Made by
William MNeill
Edinburgh, 1891.
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(written)
MACNICOL, ALEXANDER
Amateur. Worked at Padanarum (Scotland). 1840-1865. Made 45 violins, Guarnerian modelling, average workmanship.
MACPHAID, JOHN
Worked at Monzie (Perth), 1860-1875. Ordinary work.
MACQUEEN, JOHN
Resident at Nelson (New Zealand), 1875-1897.
MACSIVAN, JOHN
Resident at Partick (Scotland), 1880-1920. Produced about 100 violins of varying merit.
MADRIAN, JOHANN
Worked at Brnn (Moravia). Principally cellos, Stainer modelling of large and broad proportions, first-class workmanship, good tone.
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Johannes Madrian me fecit
Brunae. Anno 1721.
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MAFFEI, LORENZO
Worked at Lucca (Italy), 1765-1786. Instruments commendable because Gabriellis style is plenarily illustrated in outline and arching. Claimed to be a pupil of that master. There is a gracefulness about them which places them outside the category of the conventional. Yellow varnish imparts further beauty. Soft and sweet tone, never powerful. Also violas with a tone of chastened sobriety. 250, 1960.
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Lorenzo Maffei
Lucca. Fecit 1767.
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MAFFUCCI, JOSEPH
Worked at New Rochelle (New York), 1923. All beautiful solo instruments incomparable for tone, results of special experiments and secrets.
MAGATELLI, A.
Worked at Cremona, 1815-1840. Probably a name invented by an Italian dealer. Elegant Stradivarian modelling. Wood (of very high grade) and workmanship forcibly reminding of the historic school. Orange or deep red varnish of rich hue. Tonal quality of remarkable clarity and carrying power, also of considerable mellowness. 40, 1930. 95, 1960.
MAGGIALI, CESARE
Born at Moneta (Tuscany), 1886. Worked at Fossola-Carrara, 1935. Amateur violinist. Made 150 violins, 10 violas and 3 cellos up to year 1949. Excellent Strad and Guarnerian modelling.
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Cesare Maggiali
fece-in-Carrara
19. .
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Caesar Maggiali Monetnesis
fecit Anno 19. .
Carariae
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(elaborate, bearing coat-of-arms of Carrara)
MAGGINI, GIOVANNI PAOLO
Born at Botticino near Brescia, 1580. Apprenticed to Gasparo da Sal. Worked in the Contrada del Palazzo Vecchio del Podest, Brescia, where he plied his trade as a Maestro di violini. Died of the plague, 1630. From the germination of the seed to its ultimate perfection in the fruit, we have to contemplate a series of progressions. Closely analogical is the art of violin making, where successive developments have conducted us from the small to the great, from the narrow and circumscribed to the boundless, in a system of gradation and according to a fixed scheme of cause and effect. Art thus arises from the first feeble efforts of power as puerile in its commencement as the tiny grasp of childhood, and slowly advances to its stature of colossal greatness. Violin making, from the rude labours of the earliest, has advanced to the most admirable of wonders; from the rough if not uninteresting outline of the miscellaneous tribe of instruments foreshadowing Gasparo da Sal to the elaborate and highly finished Stradivarius. It has followed the slow track of observation and tardily erected its fabric on the foundation of long continued experiment, sometimes seeming to progress, at others, detecting some fundamental error, casting away this and that idea and recommencing on a new found plan, till at length, after years of labour and failures, its beauty sparkles in the meridian sunshine. When we see a second or third period Maggini violin we view a course of gradations, each of which is linked in a beautiful connection with that preceding and that succeeding it, and can follow with confidence the continuity of the chain. First period certainly shows the influence of Gasparo da Sal, the same heaviness of build, abrupt corners and carelessly inlaid purfling generally inlaid in double line. Long and pointed sound-holes, undercut, or have inside bevelled edges, showing that the characteristics of the ancient viol held considerable sway in his mind. Maple wood for the back generally cut on the slab; and he adopted the shape-plan for the table (also furnishing a comparison link between the viol and violin) but subsequently changed his method to cutting the wood with the straight way of the grain. Scroll, though exhibiting an abundance of character (not necessarily bound to be admired however) is very indifferently modelled and nearly as primitive as that of a Gasparo da Sal, sides frequently bear no uniformity of grading with each other, fluting at the back remarkably irregular and the face, too, deeply and certainly unevenly shaped. Wall of peg box (in the region of the A string peg) does not prepare the grooving for the curves of the scroll, it starts there abruptly and shows an edge. In treading this path of his semi-initiative period he was only occupied a few years and contented himself with producing but few instruments. Then he entered on his second period, the period forming the connecting link to the masterpieces of Stradivari, and as Magginis views enlarged in the certainty of progression so his energies increased. Violins of this period seem to leave Sal standing alone. Maggini was carefully venturing on a new and then unknown path of introducing the side linings and corner blocks which every maker has since followed. He tried slightly higher arching and a more pronounced border, gave greater attention to the purfling, showed more cleverness in cutting the sound-holes (but without quite deviating from the originality of the first period) and attained finer symmetry in his large scrolls. Chose wood of the finest quality and seldom cut the back on the slab. In this period he rose from point to point until reaching his acme. Never declined from that position of exaltation, and the successive changes in his advance to maturity were unusually rapid. Workmanship never subsided into feebleness or unsightliness and his violins are constituted to outblast the ravages of time for they maintain their vigorous freshness whilst other makers instruments exhibit the blights of winter and dismal forms of decay. Such is the firmness and durability of the Maggini structure. Still finer are those belonging to the third period, show a less towering but not less imperishable form and greater gracefulness combined with steadier firmness, all seeming to point to the fact that he was considerably influenced by the then recently produced instruments of Antonio and Girolamo Amati. Swell of arching not so decided, and slopes more gradually to the sides. Sides appear relatively shallow on account of the broad and long outline. Edges less heavy looking. Every angle splendidly rounded. Wood cut on the layers, the back being cut thinner than the front part, which is relatively very strong and seems slightly out of proportion. Yet everything is accurately gauged otherwise the tone would be impaired. Unusually large and long sound-holes (with the top and bottom curl rather small), elegantly curved, well-cut and minutely finished. Scroll does not quite lose its former primitiveness but is more graceful, and the fluting not so hollowed. Nearly all instruments double purfled and some of it is indeed, very originally conceived. Many further ornamented on the back with fantastic curls of considerable variety similar to that employed during the viol period. These decorations take the form of a conventional trefoil, finishing off the limbs of a St. Andrews Cross in the centre, which is sometimes varied by a lozenge projected between the limb of the Cross and occasionally the tre oil gives place to three small squares. Some have the clover leaf device at top arid bottom of back, others have a tableau of a city, medallions, royal crests and other magnificent drawings of a purely imaginative character. There are, however, two or three specimens which have only one line of purfling, also one known with a double purfled front, but only imitated purfling on the back, the double line being drawn in pencil or ink. Varnish always varying in colour, excites the warmest admiration. He was at first partial to a clear brown, but as the model underwent series of changes he arrived at a more brilliant and transparent golden colour (sometimes reddish brown), all being particularly rich in quality. When we have admired the external beauty of these instruments and wonder at their extreme size (which rendered them unpopular for many, many years) we still have to be astonished at the extraordinary and unique sonority of the tone, never harsh or metallic but of a sombre mellowness rather analogous to that of the viol and therefore not brilliant, a charm distinctively belonging to a Maggini and never produced from those of any other maker. De Briot and the many critics who, in periodicals, exploited their opinions of his performances, considered his gorgeous specimen to have the finest tone in creation and also possessed such a variegated mellowness that an accurate representation of its total beauties were absolutely beyond the delineation of the pen.
When Wieniawski met De Briot at Ems he offered 20,000 francs for possession of this highly decorated instrument, but the princely sum was refused. Formerly belonged to the Empress Maria Theresa, who presented it to Kennis (Belgian violinist who frequently played with his patroness). Then it came into the hands of De Briot, from whom it passed to Lonard, who afterwards desired his favourite pupil, Marteau, to have it. This young virtuoso (in 1890) paid Lonards widow 25,000 francs for it, and many times since then its commercial value has been estimated at 1,400.
Another fine specimen which was in the collection of C. B. Schley (famous American connoisseur), came into the hands of Lyon & Healy of Chicago who, in 1920, offered it for sale at 4,500 dollars. Magnus Ahlberg (Conservator of instruments in the Royal Acamdey of Music, Stockholm, 1912) owned a second Maggini violin which previously belonged to Lonard. Body length 37 cm (about 14.9/16 inches); Upper bouts 17.1 cm; lower 21.2. Workmanship seems to belong to the second period. Violas have high arching which immediately commences its gradient from the inner line of the double purfling, body length 50 cm.
High border, sides set close to the edges of the back and belly, leaving the slightest of margins. Short corners a noticeable feature. Short sound-holes higher positioned than customary in the violins. Also wide, stiffishly upright and with the inner edge undercut. Golden brown varnish exceedingly beautiful. Measurements: body length 432 mm; upper bouts 208; middle 140; lower 248; ribs 36. Cellos of similar modelling to that of violas. Sides rather low, sound-holes placed somewhat high.
About 60 violins, 9 violas, 2 cellos, 1 double bass and a few viols, are the total contributions of his industry.
Charles Winterbottom (principal player in London for many years) possessed a double bass which has a carved scroll by Benvenuto Cellini. Body length 3ft. 8-3/4 inches; upper bouts 22-1/4 inches; middle 15; lower 27-1/2; ribs 8-3/4. Arnold Dolmetsch had a perfect viol of six strings which gave a wonderful richness of tone. Beautifully inlaid fingerboard and varnish of an exquisite brown tint. Labels very brief, one line and never dated, a fact which assists in detecting a forgery. Very fine example owned by the well-known collector, Mr. Cyril Woodcock of London. A late period model valued in 1958 at 1,000. Todays price, 650 early model up to 1,500 late model.
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Gio. Paolo Maggini in Brescia.
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Paolo Maggini in Brescia
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Mozart is supposed to have played on a viola of Maggini. Sold to Jansa the Viennese violinist, 1826, and finally came in the collection of Edward Speyer, who (in an article in Le Guide Musical, Paris) gave much documentary evidence and the following label: -
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Giouani Paulo Megri
A Brescia, 1615
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In 1907 a monument was erected at Brescia with the following inscription: -
Giovanni Paolo Maggini
nato in Botticino Sero nell 1580.
fu allievo di Gaspare da Sal ne perfezion lo strumento
maestro di Violini chiamondosi
lavor in questa casa
donde larte sua diffuse
e vi mori forse
nella pestilenzia del 1630.
A very detailed and erudite monograph on the life and work of Maggini, compiled from material in the State archives collected by Miss Huggins and Hill & Sons, is published by Novello.
MAGGINI, PIETRO SANTO
Believed for many years to have been a son of Paolo but later conclusively proved (by the registers of the San Agatha Church) not to have occupied that relationship. More probable that his name was Santo who became the occupier of Magginis workshop and added the famous name to his own. Fair replications of his supposed fathers style. Instruments dated from 1631 to 1680. 350, 1960.
Large five-stringed contrabass preserved in the Heyer Museum at Cologne.
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Pietro San Maggini
Bresciae 1641
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Petrus Sanctus Maggini
Briziae. 1658.
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MAGHELLI, SEVERO
Worked at Rome, 1790-1800. Excellent violins, handsome wood and good varnish.
MAGHIE, J. F.
Worked at Dalston, 1892-1904. Aspiring and conscientious modelling of the larger Stradivarian proportions. Yellow or reddish yellow varnish. Frequently of very strong tone but the keenness (by no means offensive) of its edge will take many years to arrive at smoothness.
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John Fisher Maghie
at Dalston in Cumberland
Fecit.
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MAGLIA, STELIO
Born 1925. Studied at the Cremona school. Won diploma, 1949. Strad, Guarnerian and Maggini modelling, also one slightly individualistic.
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Stelio Maglia
Diplomato della Scuola Int. Liuteria M+A
N. fece in Cremona lanno, 1949. S
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(with signature)
MAGNIRE, GABRIEL
Worked at Mirecourt. Instrument bearing No. 233 made in 1890. Impressive Stradivarian modelling though of the mass production type. Fine grain belly wood, generally too thin and pretty two-piece backs. Red and red brown varnish. 5.
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Fait par moi
Gabriel Magniere Luthier
Mirecourt, 1884.G+M
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Also branded Magnire. Some specimens anti-dated 70 or 80 years.
MAGNUS, ANTONIO
Worked at Naples, 1780-1802. 20. Good work.
MAGNUSSON, ANDERS
Born 1876. Amateur at Gunnarsky (Sweden). Excellent violins, violas and cellos. Well shaped scrolls. Attractive varnish.
MAGNUSSON, BROR EDVARD
Born 1905. Pupil of Segerstrm. Resident at Insjn. Splendid Strad modelling, brown varnish.
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Bror Magnusson
Insjn r. .
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MAGRI, FRANCESCO
Worked at Livorno (Leghorn), 1762-1784. Called Bischeri (pegs). Model of slender proportions. Perilous high arching, very deep sinking at the base of the neck, workmanship of tolerable certainty but not refined enough to rivet the attention; small but nicely neat scroll, straightish sound-holes also well done, yellow brown varnish.
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Francesco Magri
Detto Bischeri
Fecit Livorno. Anno 1773.
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Some labels have Franciscus.
MAGRINI, ENRICO
Worked at Trieste, 1865-1880. Modelling soberly worked to coincide with that of a Guadagnini. Scroll shows a slight straining for originality. Sound-holes not well done. Praiseworthy purfling, reddish brown varnish. Bright and clear tonal quality. Also cellos without blemish in workmanship or tone. 125, 1960.
MAHLKE, JOHANN
Worked at Berlin, 1878-1892. Splendid imitations of the Italian models, solidly constructed on rational principles. Violas and cellos create the same favourable impression.
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J. Mahlke. Geigenmacher
Berlin. Faccibat 1883
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MAHMOUD, ALY MAHMOUD
Born 1896. Worked at Cairo, 1914. Won gold medal, 1931. Excellent lute player. Expert maker of oriental lutes. Also constructed violins. Label in arabic lettering.
MAHOMED MAHMOUD, EL HEFANAOUI
Born at Tantah (Egypt), 1886. Lute player in youth. Studied the construction of native instruments. Established in Cairo, 1910. Made secret innovations to improve the tone of lutes and other oriental instruments. Also built a few violins. Large label in arabic lettering.
MAHONEY, FREDERICK DANIEL
Born 1880. Worked for F. W. Chanot and Joseph Chanot. Resident at Lavenham, 1950. Made violas according to a design by General Pelly at Windsor Castle.
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Fred. Daniel Mahoney
Maker
London
No. 66. 1932
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MAHRER, JOHANN
Worked at Wels, 1830-1880. Guitarist. Made excellent violins, flat arching and brown varnish. Guitars splendidly worked, much sought after.
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Johannes Mahrer fecit
Wels anno 1844
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MAIER, ANTON
Born at Schnbach, 1869. Pupil of Sandner and Placht. Established at Krumlow, 1895. Very good workmanship and tone.
MAINELLI, LUIGI
Worked at Cremona. Probably an imaginery name made up by French firms. Flat modelling of neat workmanship, pale red varnish. Usually marked L.M.C. 1823 Cremone.
MAIRE, ETIENNE
Son and pupil of Maire-Breton. Worked at Barcelona, 1887-1898. Established at Paris, 1898. Finally went to to Madrid. Died 1935. Strad, Guarnerian and Maggini modelling, generally elegant designs and splendid workmanship. Reddish varnish of sombre hue, but instruments made at Madrid usually of yellow or walnut shades. Violins made at Barcelona are branded. Those made at Paris have a manuscript label with upright writing.
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Etienne Maire fils Luthier
Paris, 1900, rue Poissonnire 31
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MAIRE, MICHEL
Worked at Mirecourt, 1756-1760. Rather heavy-looking violins, uninteresting workmanship. His bows deserve more praise.
MAIRE, NICOLAS (1)
Worked at Mirecourt, 1774. Son of Michel. Did not break from the convention of the ordinary French factory violin but the proportions are nicely correct. Varnish not warm looking.
MAIRE, NICOLAS (2)
Born at Mirecourt, 1800. Died 1878. Pupil of Jacques Lafleur. Worked in Paris. Splendidly made bows, but for all their perfect balance we think he made them too robust and consequently too heavy for soloists.
MAIRE-BRETON, ETIENNE (ESTEBAN)
Born at Mirecourt, 1827. Pupil of F. Collin. Went to Barcelona to work in the Atelier of Altimara. Established own workshop, 1865. Died 1895. His philosophy and artistic sense were increasingly attached to the grand and beautiful. Studied most seriously and yearned always to produce the best, and inculcated a deep determination to raise the standard of violin making in Spain. Imitations of Italian models (favouring the Neapolitan rather than the Cremonese) accurately done. Workmanship has that high finish usually associated with the French. Wood for the top has a lovely uniform closeness of grain and that for the back always the prettiest procurable. Rich reddish yellow varnish which adds additional lustre to a first-class instrument. Gagliano type cellos of slight value owing to poor woods. Very few instruments signed or labelled.
MALAGOLI, FOLGENZIO
Worked at Modena, 1850-1863. 85, 1960.
MALAGUTI, ERMINIO
Born 1914. Established at Milan, 1938. Well fashioned violins much in the style of Scarampella of Mantua. Many specimens exported to America.
-----------------------------
Malaguti Erminio
Milano M
Fece nell anno 1947 E
-----------------------------
(with signature)
MALAHAR, PIERRE
Worked at Bordeaux, 1690-1710. Viol-da-gambas principally. Some violins carry his name.
MALBAUSCH, EDWIN
Born 1899. Resident at Rosalia (Washington), 1923. Specialist in making instruments of curious shapes and sizes.
MALDONER, JOHANN STEPHAN
Worked at Fssen (Bavaria), 1750-1799. Mediocre creations having several offences against violin dignity, poor representations of the real Bavarian style of that period. Outline too square-looking, not quaint (which sometimes appeals) but downright ungraceful, though not of large proportions. Also violation of taste in the bulgy arching. Atop of all this semi-uncouthness is the scroll which startles the eye by having beautifully neat treatment and a fascinating pose though somewhat small. Purfling a long way from the finer issues of accuracy or refinement. Thin edges, particularly on the back. Sound-holes completely without artistry, straight stem, lower curves too large to be in harmony with the upper. Narrow fibred belly wood of good quality, backs seldom other than plain. Generally a pleasant shade of brown varnish, occasionally a golden yellow, both enriching the material through its good quality and sensible application. Tonal quality may be likened to the dried specimen of the botanist, of which the bloom of the flower is faded and all the aroma gone. 15 (1925). Specimens often worm-eaten. Made more cellos and basses than violins, also built several decorative viols.
----------------------------------
Joann Stephanus Maldoner
fecit Fssen 17-
----------------------------------
(pretty ornamental border)
MALDONER, MICHAEL
Worked at Fssen, 1741-1744. Few violins, principally lutes. Only occasionally labelled.
MALDONER, MICHAEL
Worked at Odenburg (Hungary). Commonplace, somewhat Stainerish, dark red varnish.
----------------------------------
Michael Maldoner, Geigen-
macher in Oedenburg, 1750
----------------------------------
(German lettering)
MALECEK, KARLO
Born at Wiener Neustadt, 1900. Worked at Sarajevo and Mostar (Serbia). Guarnerian modelling, impeccable workmanship, spirit varnish, red or golden red.
-------------------------------
Malecek Karlo
Construit Mostar. 1945
-------------------------------
-----------------------------
Malecek Karlo
Gradio u Mostaru 1945
-----------------------------
MALER, HUGO
Student at the Violin making school, Brienz, 1950.
MALER, SIGISMUND
Lute maker at Bologna and Venice, 1490-1526. Known locally as the magnifico Sigismundo Maler Thedeseho. Instruments beautifully varnished and greatly prized by collectors.
MALINE
Worked at Mirecourt, 1810-1830. Violins and cellos of broad Stradivarian modelling. Good workmanship though the maker shows no special fervour for refinement. Breasts of fine grain material, backs of ordinarily flamed wood. Yellow brown varnish, frequently commented on as being dry, cold and soulless. Strong tone with a certain brilliance though never glowing with real warmth. 25, 1925. 65, 1960.
----------------------------
Maline lutier
Mirecourt Anne 1820
----------------------------
(written)
Also branded Maline above label.
MALINE, FRANOIS ALEXIS
Prolific producer of ordinary violins, catalogued at 10 (1920). Worked at Mirecourt, 1850-1880, but adopted customary trade practice of using Paris as the place of emanation. Usual broad modelling, yellow brown varnish. Branded Maline Paris. His son (worked for Vuillaume) also made many violins of similar style and varnish. Also occasionally superior specimens with a reddish varnish. Branded Maline fils Paris.
MALINE, GUILLAUME
Born at Mirecourt, 1793. An earnest thinker who made bows commending themselves to all who have proper regard of combined strength and elasticity. Splendid heads having a deep curve down the back. Often beautiful material, sometimes gold mounted. Stamped Maline. 25 to 35, 1960.
MALINE, XAVIER
Third grade violins, valued at 10. Stradivarian modelling, very flat arching, large and wide sound-holes, golden brown varnish.
------------------
Xavier Maline
Mirecourt
A.D. 1870
-----------------
MALLAS, ALEXANDER
Born 1826. Died 1891. Worked at Leith (Scotland). Designs of an enlightened mind and an adept hand prevails both outside and inside. Everything done with care and patience. Scroll has all that earnestness and force of character worthy of its importance. Also deserves praise for leaving plenty of wood in the plates and thus giving these Stradivarian and Guarnerian modelled violins a reasonable chance of the usual improvement that age alone can allow. Arching and purfling both come up to the standard which the several connoisseurs desire. Varnish, a fine amber coloured one made by himself, will stand comparison with that of any other native maker. Tone full and powerful, equal on all four strings but, naturally, has not the mellowness which only continual playing and the passage of time can bring about.
---------------
A. Mallas
maker
Leith, 1883
---------------
(Old English characters)
MALLY, MARIO
Employed by Schmidl & Co. at Trieste, 1898. Talented maker. Workmanship accomplished under the watchful attention of an artistic and critical mind.
MALMGREN, JOHAN HAROLD
Born 1891. Amateur at Woxna (Sweden).
MALVOLTI, PIETRO ANTONIO
Worked at Florence, 1707-1722. Attractive in style, not unlike the Gabrielli. No blemishes encroach on the graceful ensemble. Scroll and sound-holes in perfect proportion to the rather small modelling. Handsome wood covered with a beautifully soft varnish, either light brown, orange or yellow. Tonal quality of moderate power but brilliantly clear and resonant. 30, 1925. 175, 1960.
-------------------------------
Petrus Antonius Malvolti
Florent fecit anno 1709
-------------------------------
Sometimes mis-spelt Masaolti.
MAMBELLI, GUIDO
Born 1904. Worked at Forli, 1925. Specialist in constructing flat backed double basses. Good workmanship. Excellent varnish on a soft resinous base.
--------------------
Guido Mambelli
Forli 1947
--------------------
Signed with Indian ink inside.
MAMLOCK (MAMELOCK), MICHEL
Established at Sarreguemines (Moselle), 1898. Rapidly developed his business and transferred it to Paris, 1922. Also opened a workshop at Mirecourt. Artistic violins of various grades with excellent tonal quality. Cellos, contrabasses, guitars, etc., also elegantly presented. Special production of bows and all accessories.
MANCINI, GIUSEPPE
Worked at Cortona (Italy). 1839. Good work and tone. 125, 1960.
MANCINI, VENTURA
Worked at Padua, 1678. Little known.
MANDELLI, CAMILLO
Born at Calco (Como), 1873. Pupil of Bisiach and Antoniazzi. Worked at Buenos Aires, 1889. Returned to Calco, 1920. Paid many visits to Tyrolian forests in search of special woods. Violins which show his endeavour to deal truthfully and fairly with every feature of the standard classical models, therefore nothing inconsistent with true art. Artistry further exemplified in the application of superb varnish, brownish red and golden red. The tone also is particularly inviting. Made his latest cello in 75th year. Also several fine toned double basses with arched backs, generally bearing the name Camillo da Calco. 90, 1960.
----------------------
Camillo da Calco
fecit Anno 1922
---------------------
-------------------------
Camillo Mandelli
fidibus, fide, fidis.
Camillo da Galco
fece Anno 1947
-------------------------
------------------------------
Camillo Mandelli
fidibus, fide, fidis
Camillus Calcensis fecit
Anno Domini 1932
-----------------------------
(decorative border)
MANDINA, FRANCESCO
Born 1874. Professional violinist. Resident at Castelvetrano (Trapani). Died 1941. Generally attractive copies of a Strad preserved in the Cherubini Museum at Florence. First series with oil varnish of brownish hue, later a yellow. No label, name and date on the interior.
MANDRINO, NIKOLA
Born at Pancevo (Serbia), 1897. Cello pupil of David Popper at Pesth. Member of the Opera Orchestra at Belgrade. Studied violin making with Lanzinger at Prague. Made several excellent violins and cellos. Also author of a Theory for alleviating the pressure of cello strings by means of an auxiliary bridge.
MANFREDI, FRANCESCO
Born 1902. Violinist and composer. Resident at Colombaro di Formigine (Modena). First instrument made in 15th year. Strad modelling up to year 1926, then an individualistic one. Completed 90 up to year 1949. Won gold medal at Vignola, 1929. Instruments signed by hand, also initials F.M.
MANFRINI, L.
Worked at Rome, 1800-1820. Viola-da-braccio in Copenhagen Museum.
-----------------------------
Luigi Manfrini
restauro in Roma 1810
-----------------------------
MANGENOT, ALBERT MICHEL
Born at Mirecourt, 1891. Son and co-worker of Paul Alexandre. Killed in the war of 1914. Made many splendid viol-damours. Signed with pen inside.
MANGENOT, AMATI
Born at Mirecourt, 1901. Son and pupil of Paul Alexandre. Worked with Laurent at Brussels. Opened atelier at Clermond-Ferrand 1922. Removed to Bordeaux, 1925. Amatese-Strad modelling, fine workmanship. Oil or amber varnish of reddish shade on an old gold yellow background.
-----------------------------
P. Amati Mangenot fils
Luthier
Mirecourt (Vosges)
No.-
----------------------------
Signature on fourth line.
-------------------------------
Fair par Amati Mangenot
Elve de Emile Laurent
A Bordeaux lan 19-
-------------------------------
(with monogram circled)
-------------------------------
Amati Mangenot, Luthier
------------------------
a Bordeaux. lan 19-
-------------------------------
With name on the line of the particular ancient model replicated.
MANGENOT, PAUL ALEXANDRE
Born at Mirecourt, 1862. Apprenticed to Justin Derazey. Made cellos for CollinMzin. Worked for Hel at Lille, also at Brussels, Geneva, Lyons and Paris. Returned to Mirecourt, 1888. Bought the business of Derazey (including the trade brands of D. Nicolas ain and Honor Derazey). Engaged several workmen to carry on the traditions of those names. Brands disposed of to Laberte, 1920. Continued to produce his own instruments, 1925. Died 1942. Violins, violas, cellos and basses, generally Stradivarian or Guarnerian, extremely artistic and neat workmanship. Choicest timbers, very effective orange red or darker red varnish. Tonal quality exceptionally free and sonorous, instruments favoured by orchestral players, particularly cellists. Violins catalogued at 13 guineas. 60, 1960.
--------------------------
Paul Mangenot
Luthier
Mirecourt. Vosges
No.
--------------------------
Bearing the signature P. Mangenot, pre, also branded P. Mangenot.
MANGIANI, P.
Worked at Cruce, 1747. Flat model, golden brown varnish. Belly wood sometimes of wide grain. Tonal quality of splendid carrying power. Specimen at Chicago (1925) realised 750 dollars.
MANGIN, GRARD
Worked at Mirecourt, 1825-1865. Violins of well worked Stradivarian or Guarnerian modelling. Reddish brown varnish. Not a very free tone. Also cellos of Stradivarian design. Branded Grard Mangin Mirecourt in triangular form.
MANGIN, LOUIS
Worked at Mirecourt, 1800. Violins and cellos of fourth grade. Strongly wooded but worked without refinement. Dark yellow brown or orange varnish. Cellos frequently have belly wood of coarse grain on the left apd graduating to very narrow towards the right. Violins generally catalogued at 12. Branded Mangin Mirecourt, sometimes Paris instead of Mirecourt, or Louis Mangin. Name occasionally seen as Mangino.
MANN, HANS
German. Worked at Naples, 1710-1750. Moulded more or less on Stradivarian and Guarnerian principles. Not specially noteworthy compositions, consequently of slight value though exceedingly rare. Lutes and guitars more happily constructed.
----------------------------
Hans Mann
fecit Neapoli Ao. 1732
----------------------------
MANN, JOHN ALEXANDER
Born 1810. Worked at Glasgow. Died 1889. Instruments date from 1845. Early specimens suffer from the fidgety nature of the maker through perpetually changing the model. Ultimately paid homage to the Stradivarian and emphatically recognised its superiority by making no further undecisive wanderings. Accounted one of the principal makers across the border. Splendid modelling, flawless workmanship, scroll of fine swing, neat purfling, beautiful wood. Usually pale yellow oil varnish, invariably darker at the part of breast near the bridge and occasionally a reddish yellow. Some instruments have a broad oval of dark floral ornamentation worked on the wood under the varnish at the top of the back under button. Tonal quality generally fully sonorous and free. Intimate with Vuillaume, went over to France every year, supposed to have purchased violins in the white from him and Thibouville-Lamy, afterwards varnished them and disposed of them as his own. Indubitably some of his violins bear a strong resemblance to several of Vuillaume, and the above assumption may be right in a few instances but most of his work proclaims gifted personality without a doubt.
----------------------------------
Original Strad Copy
fait par John A. Mann 1865
----------------------------------
----------------------------
Fait par John A. Mann
Glasgow 1885
----------------------------
----------------------------
Retabli Soigneusement
par J. A. Mann
Glasw. 1877
----------------------------
MANSUY
Worked at Mirecourt, 1740-1786, though Paris sometimes is indicated. Thoroughly well-made instruments. Stradivarian modelling of normal measurements, not so broad at waist curves as that of the general Mirecourt style. Wide grain belly wood, handsome slab back. Often a dull brownish-yellow varnish, but occasionally a light orange or reddish-brown of better quality. Tonal quality of agreeable fullness if not of sweetness. Catalogued at 10 to 15 according to varnish. Branded Mansuy Paris or Mansuy. Mirecourt.
Many specimens seen dated 1900 and onwards which are products of a Mirecourt firm who purchased the brands. 45, 1960.
MANTEGAZZA, CARLO
Worked at Milan 1760. Brother of P.G.
MANTEGAZZA, FRANCESCO
Worked at Milan 1760-1801. Brother and associate of P.G. Conspicuous as a particularly talented imitator of the Amati style.
-----------------------------------------
Francesco Mantegazza
nella Contrada di Santa Margarita
in Milano lanno 1787
-----------------------------------------
MANTEGAZZA (MANTEGATIA), PIETRO GIOVANNI
Worked at Milan 1747-1796. Associated with brothers until 1775, then alone. Some instruments finely replicate the Nicolo Amati except the scroll, which is larger and less elegant. These are usually treated to a very fine oil varnish of dark orange or red shades, well preserved. All workmanship comparatively flawless, also finest wood. Tonal quality of considerable richness, and worthy of any quartet leader. He was however, a maker of variegating moods, and several speciments (though of Amati outline and medium arching) have pronounced edges, carelessly done soundholes, wood of faint figure, and a brownish varnish. Much of his varnish was too rich in resin, consequently it has now frequently become quite dark, in fact almost black. Also exercised his versatility with models of a Strad and Guarnerius, also a few of very high arching. Some gloriously mellow toned violas known. Measurements of two (different sizes) dated 1791 and 1796 - body length 40.7 and 43.4 cm; upper bouts 19.5; and 20.3; lower 24.3 and 26.3. A quartet of instruments called il quartetto di lutto had prominent notice at the Milan Exhibition, 1881. 450, 1960.
--------------------------------------
Petrus Joes Fratresq
Mantegatia Mediolani
in Via S.Margaritae anno 1750
--------------------------------------
(Prettily scrolled, small neat lettering)
------------------------------------------------
Pietro Gio . e fratelli Mantegazza nella
contrada di Santa Marguarita in Milano
al segno dell Angelo, 1756
------------------------------------------------
---------------------------------------------
Petrus Joannes Mantegatia fecit
Mediolani in Via S.Margaritae, 1783
---------------------------------------------
Others give the name Mantegratia or Mantegrazia. A name much played about with by unscrupulous dealers, many violins of indeterminate model as well as anything resembling the Amati have been ticketed as Mantegatias.
MANTELLI
Worked at Modena, 1750-1780. Known as Il Gobo (hunchback). Produced many three-stringed double-basses. Some writers give the name as Martinelli.
MANTOVANI, ALESSANDRO
Worked at Parma, 1850-1883. Good modelling, mostly Stradivarian, but also Guarnerian. Workmanship without a blemish, scroll of notable originality. Red oil varnish of fine texture and pretty sheen plentifully applied. Tonal quality remarkably clear and full. 150, 1960.
--------------------------------
Alessandro Mantovani
fece in Parma Anno 1853
--------------------------------
MANUEL, EVAN
Worked at Merthyr Tydfil (Wales), 1815-1825. Drew several bows at a venture, but the arrows nearly always missed the target! Stainer outline, high arching, straight sound-holes. Scroll not indigenous to that school. Good varnish but non-transparent, purfling well done. Shrill, harsh tone.
MANZONI, LORENZO
Worked at Milan. Nicely conceived design, workmanship never careless, yellow-red varnish.
-----------------------
Manzoni Lorenzo
Milano
-----------------------
(Bold, antique lettering)
MAPPROCHINI, GIUSEPPE
Worked in Italy 1800-1805. Very unattractive modelling, and workmanship betrays an almost unpardonable carelessness. Excellent quality of varnish, yellow shade nice transparency. Satisfactory tonal quality notwithstanding the uninviting contour. 10 (1925).
MARAFI, A.
Worked at Milan, 1750. Very ordinary violins. Superior guitars and mandolines.
-------------------------------------
Ambrogi Marafi
Milano Vicino a San Giovanni
alle Casserotto
------------------------------------
MARATTI, GIAMBATTISTA
Worked at Verona, 1680-1700. Expositions not possessing especially elegant attributes, but cannot be altogether disregarded. Modelling of rather small dimensions. Workmanship just passably ordinary. Tonal quality happily favoured with sweetness and clarity. 250, 1960.
MARC, N.
Little-known instruments. One seen labelled:
-----------------
N. Marc
Verdun 18. .
-----------------
(Oval)
MARCARD
Worked at Mirecourt, though impressing his work as emanating from Paris. Violins equal, or nearly so, with the usual French factory productions. If received in this sense, they give every satisfaction. Branded Marcard Paris.
MARCELLI, GIOVANNI ANTONIO
Worked at Cremona, 1690-1702. Elegant violins having a high claim to our attention. Outline and all details enhanced by skilful smoothness of workmanship. Scroll and sound-holes shaped with the kind of artistry necessary to please critical connoisseurs. Interesting cellos often with fanciful inlay purfling and carved heads. Double-basses of large pattern and of powerful tone, flexible yet of fine sonorous depth. 400, 1960.
---------------------
Joannes Marcelli
Fecit Cremonae
MDCXCVI
--------------------
(written on parchment)
MARCH
see DE MARCH.
MARCHAL, PIERRE PAUL
Worked at Mirecourt, 1725-1768. Many violins of ordinary workmanship, also cellos and guitars. Branded Marchal or Marchal Paris below the button or inside.
MARCHAL, R.
Probably worked at Mirecourt. Modified Stradivarian pattern. Sound-holes conspicuous for an exaggerated lower curve. Dark shade of reddish-brown varnish.
-----------------
R. Marchal
Anne, 1899
-----------------
(double border)
MARCHAND, F. EUGNE
Born at Mirecourt, 1858. Pupil of Durand and Laurent. Worked for Hill and Sons (London), 1890; and for Sylvestre (Paris), 1897. Established own premises at Paris, 1902. Died 1916. Especially adept in restorative work. Marvellous replicator of old instruments particularly of Cappa and Ruggieri. Also cellos. 85, 1960.
--------------------
E. Marchand
Paris. l.an 1913
--------------------
MARCHAND, JOSEPH
Bow-maker at Mirecourt, 1744-1765. 30, 1960.
MARCHETTI, ABBONDIO
Worked at Milan, 1813-1840. Well-formed outline, and flat arching. Artistic scroll and sound-holes. Remarkably good quality of brownish-red varnish. Tonal quality fresh and strong. 175, 1960.
----------------------------------
Marchetti Abbondio
Fece in Milano lanno 1816
----------------------------------
Some instruments falsely dated 1780.
MARCHETTI, EDUARDO
Son of Enrico. Worked at Turin, 1890-1910. Violins doing honour to a very accomplished craftsman. Firm and vigorous handling of wonderfully imitative representations of the various Cremonese and Neapolitan models. Dealers have little difficulty in getting 40 for finest specimens. Label, sometimes bearing two, his own and that of the particular model copied. 125, 1960.
MARCHETTI, ENRICO
Born at Milan, 1855. Worked at Turin 1879. Died 1930. Clever copies (outlined and arched with great skill) of the master violins. Especially interesting replications of the Gagliano. Body length, 14 inches. All details pleasingly represented and smoothly treated. Handsome wood, and brilliant yellow varnish tinted with fine effect. 100, 1960.
-----------------------------------------------
Enrico Marchetti Mediolanensis
Premiato con diciotto Medaglie alle
primarie Esposizioni estere e nazionali
fecit Taurini anno Domini, 1924
----------------------------------------------
(with M.E.T. in black circle)
MARCHETTI, VITTORIO
Worked at Turin, 1894. Liberally gifted to produce facsimiles of standard models. 90, 1960.
MARCHI, GIOVANNI ANTONIO (1)
Worked at Bologna, 1660-1730. Easy to detect his predilection for the peculiarities of the early Gagliano school, though the arching gives a slight deviation by a pretty originality in the height. Scrolls structurally perfect; ardour of innovation not carried beyond bounds of artistic propriety. Sound-holes and purfling convincingly neat. Splendour exemplified in the golden brown varnish, sometimes of light tint, also of a deeper one but not less brilliant, and occasionally with some red impregnated. Finely flamed material for backs and ribs. Belly wood often of broad grain. Tonal quality not powerful but of charming clarity and mellow sonority, not inferior to many higher priced 50 (1925). Cellos also of considerable elegance, tout-ensemble attractively spread out.
----------------------------------
Joannes Antonius Marchi
fecit Bononiae. Anno 1693.
----------------------------------
(with and without decorative border)
Sometimes on parchment. Name occasionally given as Marcia. 150, 1960.
MARCHI, GIOVANNI ANTONIO (2)
Son of the preceding. Worked at Bologna and Milan, 1740-1805. Workmanship good, but less refined than that of his predecessor. Moreover, there is a slight veil of heaviness detracting from absolute elegance. Generally of medium arching but occasionally verging on the bulgy. Waist curves often quite long. Sound-holes rather short with a non-too-happy position between slanting and perpendicularity. Prettily wooded and golden yellow varnish. 35 (1926). Label same as the preceding. 95, 1960.
MARCKSTEIN
see TIM.
MARCO, ANTONIO
Worked at Venice, 1697-1704. Good examples of the Venetian school which, though receiving considerable patronage in Italy, seldom find their way to England. Graceful Amatese outline and accurate arching. Sound-holes drawn with skill. Scroll nicely free from restraint. Application of varnish shows his intimate knowledge of that oft-times troublesome process and there is nothing to dissatisfy the most severe critic. Entire structure rather reminds of a Marco Antonio Novello and most probably made by him. (See Novello). Excellent tonal quality but not large. 300, 1960.
----------------------------
Marco Antonio
fece in Venezia, 1701.
----------------------------
MARCONCINI, GAETANO
Son of Luigi Aloisio. Worked at Ferrara, 1830. Workmanship not quite so commendable as that of father. Excellent value for 30, 1925. 150, 1960.
MARCONCINI, GIUSEPPE
Born 1774. Son of Luigi Aloisio. Studied with Storioni. Settled at Ferrara. Died 1841. Workmanship varies considerably, but many of his instruments may be placed on a level with those of his teacher. These, slightly arched and of Amatese-Strad pattern, will become (the farther time wings its flight from the age in which he lived) more and more honoured and valued for their splendid tone. Belly wood often wide grained, two-piece back of very straight flame, body length 35.5 cm. Covered with a brilliant red or golden brown varnish. One example (dated 1830) realised 500 dollars in America, 1920. 350, 1960.
MARCONCINI, LUIGI ALOISIO
Worked at Bologna and Ferrara, 1760-1791. Pupil of Omobono Stradivari. Delightfully graceful instruments. Frequently mentioned in laudatory terms by experts. Catalogued at 600 dollars in America, 1930. He had the happy faculty of slightly stepping aside from the beaten path customarily trodden by Italians. Arching and outline both furnish this originality and has succeeded perfectly in his treatment of both. Body length 35.8 cm. Disposition of sound-holes free from disagreeable angularities, having a beautiful undulation from the upper to the lower curve, no easy task to effect. Attitude of scroll entirely natural. Admirable varnish, either a handsome orange brown or pale red. Tonal quality of that richness we search for when desiring an ideal quartet instrument, a clear and penetrating sweetness. All specimens certainly add to his reputation as a maker of independent thought, and a very careful executant. Cellos generally of noble dimensions. One dated 1767 had the remarkable body length of 32 inches, and was sold for 200. Also double basses, lutes and viol-damours. 400 to 500, 1960.
---------------------
Luigi Marconcini
f. Bologna
---------------------
-------------------------
Aloysius Marconcini
Bologna fecit 1765
-------------------------
---------------------
Luigi Marconcini
in Ferrara 1767
---------------------
----------------------------
Aloysius Marconcini
Ferrariensis de Ferrara
anno 1770
----------------------------
------------------------
Aloisio Marconcini
Ferrara 1778
------------------------
MARCONI, ANTONIO
Worked at Conegliano (Italy), 1878.
MARCONI, LORENZO
Worked at Cremona, 1930. Classical models, spirit and oil varnish of various shades.
----------------------
Marconi Lorenzo
Cremona 1949
----------------------
(lyre, and signature)
MARCONTE, CHARLES ADOLPHE
Worked at Mirecourt, 1840. Instruments making but slight appeal to anyone except those of the untaught gazer-class. Style and workmanship not mediocre but at least commonplace. Adopted the then prevalent practice of giving Paris as the place of emanation.
MARCUCCI, CUSTODE
Born at Lugo di Romagna, 1865. Worked as an agriculturist until 15th year, then took up wood carving and became a cooper, something happened in 19th year and he seriously thought of violin making. To carry this out properly he studied at the Institute of Art, Bottajo. Became very skilful and went to live at San Agata (Ravenna). Produced (up to the year 1924) the following astounding total of instruments: 300 violins, 10 violas, 600 cellos (to which his activities were especially directed) and 49 contrabasses. Many of these despatched to all parts of the world. Various models, mobile and finished workmanship. Used a very dark red varnish for 20 years, subsequently prepared one of lighter shade which, nevertheless, remains deep red but is more transparent. Never employed any assistants, everything made entirely with own hands.
-----------------------------------------------
Marcucci Custode
Premiata fabbrica di strumenti ad arco
S. Agata sul Santerno
-----------------------------------------------
---------------------------------
Marcucci Custode Liutista
S. Agata sul Santerno
---------------------------------
MARCUS, M.
Trade mark of Charles Bailly. Orange shade of varnish. 65, 1960.
MARENGO
see RINALDI.
MARESCHAL, N.
Worked at Paris, 1770-1800. Violins and cellos of ordinary type, also guitars in the form of a Lyre (named Lyre anacrontique) and pianos.
-----------------------------
Mareschal luthier
rue Rameau no. 11
prs de lOpra Paris
-----------------------------
MARIA, GIUSEPPE DI
Worked at Naples, 1770-1780. Modelling not of undisciplined taste. Workmanship having occasional somnolent lapses in neatness. Fairly high arching which accommodates itself to the outline tolerably well. Pretty orange yellow varnish at once awakening a lively interest in the viewer. 30. Celebrated for guitars and mandolines. 250, 1960.
------------------------------------
Joseph di Mari di Nap.
in Strada So. Pietro a maiella
fece in Napoli Ano dni 1778
------------------------------------
------------------------------------
Joseph di Maria di Napoli
in Strada S. Pietro a Majella
f. in Napoli A.D. 1779
------------------------------------
MARIANI, ANTONIO
Worked at Pesaro, 1635-1695. Possibly a pupil of Maggini. Rather large model only slightly reminiscent of a Maggini. Rather primitive and certainly inelegant, which has led some writers to the conclusion that he worked at random and had no fixed principles. Undeniably, at a cursory glance, anybody might be excused for thinking the instruments somewhat crude in construction, but more critical examination will reveal intentional pecularities and method, resulting in a splendid quality of tone. Measurements: body length, 14-1/4 inches; upper bouts, 6-3/4; lower, 8-1/8; ribs, 1-1/8 to 1.3/16. Another specimen, body length, 13.3/16; upper bouts, 6.5/32; middle, 4-1/4; lower, 7-5/8. Long and distinctively pronounced corners not at all Maggini like. Waist curves also long and stiff looking, having no rapid sweep towards the lower corner. Roughly worked sound-holes, set nearly straight and often without wings at upper and lower turns. Rather plump scrolls indifferently shaped and seem so hastily done as to force the thought that his zeal lay in getting a good tone rather than bother his head about outside appearances. No single detail of the entire structure has received finished workmanship, surely not through incapability, but rather inherent carelessness and absence of pride. Belly wood frequently of splendid even grain, backs and ribs of very plain material. Generally double purfling not at all neatly laid. Some few specimens with irregular single purfling, also others having a line of purfling on each side of the centre joint of the back. Remarkably fine quality of warm looking yellowish brown varnish, splendidly applied, as beautiful as any ever used by Brescians or Cremonese. Tone also deeply suave, though never brilliant, proving to connoisseurs (often hankering after curiosities) that the instruments have some merit beyond structural quaintness.
----------------------------
Antonius de Marianis
fecit Pisauri anno 1638
----------------------------
--------------------
Antonio Mariani
Pesaro, 1646
--------------------
-----------------------
Antonius Marianus
in Pesaro 1673
-----------------------
--------------------------------
Antonio Mariani
fece in Pesaro Anno 1680
--------------------------------
--------------------
Antonio Mariani
fecit anno 1694
--------------------
Many specimens which are spurious in circulation, some ticketed with Magginis name, others sold as made by Gasparo da Sal, even some variously dated between 1568 and 1640 with Brescia as the abode of Mariani (thus causing some biographers to assume there were two Antonio Marianis). 650, 1960.
MARIANI, ANTONIO
Cheap factory made crudities dated 1880-1890. Long and somewhat distorted model, dark brown varnish, double purfling, corners vulgarly decorated in ivory with Fleur de Lys.
--------------------
Antonio Mariani
Pesaro. 1888
--------------------
MARIANI, FABIO
Son of Antonio. Worked at Pesaro, 1679.
MARIANI, LUDOVICO
Son of Antonio. Worked at Pesaro, 1690-1702. Broad and flattish modelling of Brescian type, long, rather ungraceful and straightish sound-holes, very plain wood, splendid tonal sonority.
-------------------------
Ludovico Mariani
fece in Pesaro 1694
-------------------------
MARICHAL, REN Born at Belfort, 1903. Studied at Mirecourt. Worked for E. Maucotel at Paris. Won gold medal, 1926. Established at Algiers, 1927. Personal model, reddish brown varnish.
-----------------------------------
Ren Marichal
Luthier Alger. 19. . No. . .
-----------------------------------
Initials in unique design. Also branded.
MARINELLI, ANTONIUS
Worked at Ancona (Italy), 1830. Very good workmanship, high arching, plain wood, golden yellow varnish, excellent tone. 125, 1960.
MARINO, BERNARDINO
Worked at Rome, 1770-1810. Brown varnished violins much in the Tecchler style.
MARIOTTE, JULES
Ordinary violins, Mirecourtian style.
-------------------------------------
Mariotte Jules Luthier
Neufchteau (Vosges) 1819
-------------------------------------
MARISSAL, ALBERT
Born at Lille, 1912. Son and pupil of O. Good violinist and viola player. Constructed first instrument, 1948. Won diploma at The Hague, 1949. Strad and Guarnerian modelling, transparent reddish varnish.
MARISSAL, AUGUSTE
Born 1860. Pupil of J. Hel at Lille, worked with him until death, 1918. Signed few new instruments.
MARISSAL, OLIVIER
Born 1884. Son and pupil of Auguste. Established at Lille, 1933. Excellent Strad and Guarnerian modelling, reddish oil varnish. Written label.
MARIZOT, BASTIEN
Born at Mirecourt. Worked with Salzard at Moscow. Lived at Charkov, 1870-1905. Modelling which shows a reverence for the Stradivarius. Satisfactory workmanship, good wood, artistic varnishing, full tone.
MARJANENKO, LUKA
Born 1870. First worked at Kertsch. Moved to Kiev, 1906. Made a large number of instruments, all showing talented craftsmanship. Produced interesting designs of the Maggini and Stradivarian, also an original model with very sharp corners and somewhat stiff sound-holes. Dark red or yellow red spirit varnish thinly applied. Large and sharply brilliant tone, very little sweetness.
MARKERT, JOHN
Born at New York, 1910. Trained at Mittenwald. Worked with Glaesel at Berlin. Joined his father John, senior, at New York (now known as F. J. Markert & Co.) Made (up to year 1943) about 150 violins, 25 violas and 20 cellos. Copies of Italian master violins, oil varnish of excellent texture.
MARKS, WILHELM
Worked at Munich, 1880-1920. Chiefly guitars and mandolines, also some violins of Tyrolian style.
--------------------------
Wilhelm Marks
Instrumentenmacher
Mnich, 1883
-------------------------
(decorative border)
MARLAND, JOHN AND SEPTIMUS
Worked at Hurst (Lancashire), 1870-1900. Good workmanship.
MARNIE, JOHN
Weaver and gardener. Resident at Padanarum (Scotland), 1850. Pupil of J. Findlay. Made 40 violins of Guarnerian modelling, no detail of workmanship especially commendable.
MARQUARDT, GEORGE W.
Worked at Boston (U.S.A.), 1908.
MARQUARDT, RUDOLF
Born at Stettin (Pommerania), 1864. Studied violin playing and became very proficient. Apprenticed to Adolf Pfretzschner in violin structure. Spent seven years of intensive research during wanderings thrdugh several workshops in Germany and South America. Returedto birthplace and established own premises, 1896. Instruments date from year 1887. Built 30 violins, 7 violas and 3 cellos up to year 1928. Stradivarian and Guarnerian modelling. Nice oil varnish of own formula, red and yellow red shades. Design and workmanship show exact comprehension of his art, and all small details splendidly harmonise with the larger.
-------------------------
Rudolf Marquardt
Geigenbauer
Stettin
Gebaut. Anno 1923
-------------------------
MARQUART, LUDWIG
Resident in North Dakota (U.S.A.), 1914.
MARQUIS DE LAIR
Name first adopted by C. Claudot at Mirecourt, 1820, and subsequently by other makers in that town. Stradivarian and Guarnerian modelling. Generally of very large pattern and rather disproportionately built, therefore not comfortable for players. Apparently a maker who had the deeply ingrafted idea that bigness of form was necessary for bigness of tone, each specimen is very confirmatory and illustrative of this. Strongly built, but of that commonplace appearance offending and wearying the eye. Sound-holes set wide apart, of good design but not neatly cut, and give the waist of the instrument an unusual breadth. Scroll also well prepared as regards its shape, but vulgarised by an indefinable something. Broad margins and well rounded edges. Excellent depth of rib. Tolerably good belly wood, often of broad grain, with backs of fair flame and scroll of plainer material. Varnish rather repellent, a tame and dull orange colour with a displeasing greenish tint, evidently made from indifferent materials. Tone very loud under the ear, not of ringing sonority and utterly destitute of warmth and sweetness. One specimen audaciously advertised at 500 dollars in the United States, 1920. Also cellos of similar characteristics. Branded Marquis de lair loiseaux.
MARR, W.
Worked at Newcastle-on-Tyne, 1815. Modified Amatese modelling not violating the canons of good art in any single particular. Pleasing tonal quality commanding respect.
MARRATTI
see MARATTI.
MARREE, GEERART
Born 1905. Amateur violinist and designer. Studied violin making, 1930, and became a professional at Amsterdam, 1941. Cremonese modelling and neat workmanship. Early instruments varnished brown or red, later a golden brown. Received laudatory notices from Zimmermann and other Dutch violinists.
------------------------------
Geert Marree
Amsterdam. Maast 1949
Tonlicht no 64
------------------------------
With Geert Marree. AMSTIEROAH. Vioolbouw in unique circular design.
MARSHALL, JAMES H.
Engineer. Resident at Clifton (West Manchester), 1924. Produced first violin in 15th year and was then practising to be a violinist. Built 15 instruments whilst resident in Fifeshire and Forfarshire, 1894-1900, then was forced to give up his fascinating hobby. Recommenced in 1920 and produced several interesting expositions of Guarnetian modelling.
MARSHALL, JOHN
Born 1844. Worked at Aberdeen, 1870-1919. Produced about 300 instruments. Variegated modelling after examples of Amati, Stradivari and Guarnerius. Early specimens rather too strongly wooded, workmanship progressive and treated to a brown spirit varnish. Scroll and sound-holes generally too rigid and not even of a line-and-rule formality. A beautiful Alessandro Gagliano came into his hands for repair, so he made careful measurements, etc., and subsequently adhered to that model. Design and workmanship altogether superior to former attempts. Curvature, graduation of plates and proportions of more experienced conception. Varnish of oil, brownish shade with yellow ground. Tonal quality very responsive and approximately mature. 65, 1960.
------------------
John Marshall
Violin Maker
Aberdeen
1880. J.M.
------------------
(bearing design of the city coat-of-arms)
MARSHALL, JOHN
Worked in London, 1750-1760. Modelling generally reminiscent of the Stainer. Also a few of flatter arching. Workmanship never scamped, though perhaps not neat enough to please critical connoisseurs. Violas not incompatible with the sober principles of elegant outline and arching. Also produced mandolines and guitars.
------------------------------
Marshall. London. 1759
------------------------------
------------------------
Johannes Marshall
Londini. Fecit 1750
------------------------
----------------------------------------------
Johannes Marshall
in vico novo justa Covensam Lortum
Londini. fecit 1757
----------------------------------------------
Translation: J.M. in New Street near Covent Garden, London.
Some labels have the following humorous phrase appended: Good beef a penny a pound, but trades all very bad.
MARSIGLIESE, BIAGIO CARUANA
Double bass player. Worked in Rome from 1905. Received gold medals at Padua, Rome, Florence and Cremona (1949). Specialised in making double basses, now much used by Italians. Warm looking orange yellow varnish. Also splendid violins, violas and cellos.
-----------------------------------------------------------
B. Caruana Marsigliese
premiato studio di liuteria artistica
opera N. Roma-Via Crescenzio, 103 anno 1949
-----------------------------------------------------------
----------------------------------
Biagio Marsigliese-Siciliano
Fece anno 1946. Roma
----------------------------------
(with signature)
---------------------------------
Biagio Caruana Marsigliese
fece in Roma anno 1948
---------------------------------
(with design)
------------------------------------
Biagio marsigliese Caruana
fece in Roma anno 1942. XX
------------------------------------
(with design)
MARTAS, B.
Worked at Helsinki (Finland), 1928.
MARTENS, J.
Repairer who frequently removed the good varnish of violins brought to him and replaced a poor concoction of own formula.
--------------------
Johann Martens
Lbeck
Reparirt 1887
-------------------
MARTENSSON, JONAS
Born 1878. Amateur at Gaxsj (Sweden). Strad modelling, yellowish-red or brown varnish. Signed on the interior.
MARTIN
Worked at Hermitage Bridge, Wapping (London), 1790-1798. Happily devised Amati model of interesting breadth, general effect not upset by the rather full sides. Well moulded edges, corners a trifle over-developed. Sound-holes set rather far apart (one of the principal traits to identify his work), upper turns not particularly graceful, but otherwise of satisfactory design. Dark and light-brown varnish, embodies qualities which would be desirable to see more frequently on old English violins. Broad tone of reasonable sweetness combined with clarity.
Some instruments are guitar-shaped. 45, 1960.
---------------------------------
Martin
Musical Instrument Maker
Hermitage Bridge. London
---------------------------------
(not dated)
MARTIN
Worked at Paris, 1770-1806. Made violin-guitars, red varnish, sound-holes have the shape of leeches, like those of certain old viols. Branded Martin Paris or Martin.
MARTIN
Worked at Thuringia (Central Germany). His conception of violin-making was indeed ordinary. Workmanship seems to have been done by a timid hand. Brownish varnish of poor quality. Label does not give town or date. Syle of work suggests 1780 as the probable period.
------------------
Martin
Geigenmacher
in Thringen
------------------
MARTIN
Worked at Leipzig. Bow-maker. As instances of careful and successful finish, there are no better bows originating from Germany at the small cost of two guineas. Not artists bows, but made for orchestral players. The only deviation from the artistic is the rather large head, but this does not upset the balance. Stamped Martin. Finely polished Pernambuco sticks - silver mounted. 10, 1960.
MARTIN, ADAM
Born 1739. Died 1808. Full name - Johann Adam. Worked at Markneukirchen (Saxony). Well developed modelling with arching gently enforced to medium height. Workmanship good but excites no especial appreciation. Belly wood of fine fibre, and often superbly figured material for backs. Yellow-brown and reddish-brown shades of nicely gleaming varnish. Fairly strong tonal quality, but not brightly clear, or of exceptional carrying power. 15 (1925).
------------------------------
Adam Martin
macht mich in
Neukirchen in Voigtland
bey Adorf 1775
------------------------------
(sometimes two lines)
Translation - A.M. made me (meaning the violin) in Neukirchen, near Adorf in Saxony. Instruments dated before 1760 not genuine. 75, 1960.
MARTIN, ALEXANDRE
Son, pupil and successor of Charles. Repairer and dealer in Paris 1890. Died 1942. Shop sign - Au Dieu de lharmonic (At the God of Harmony).
MARTIN, ALBERT WILLY
Born at Markneukirchen. Pupil of Kessler. Worked at Amsterdam and Hamburg. Established at Kansas City. Cremonese models, yellow or brown-red varnish of own formula. Written label. Also bows.
MARTIN, ALLEN S.
Born in Pennsylvania. German parentage. Established at York (Pa.) 1909. Died 1920. Pupil of B. S. Bretch at Oswego. Violins, violas and cellos.
MARTIN, ARTHUR
Born 1870. Worked at Berlin and Lbau. Established at Gunzen (Saxony), 1925. Nice artistry reaching a fairly high calibre.
MARTIN, CHARLES
Born at Mirecourt. Worked at Paris, 1860-1874. Commercial violins, generally high arching. Branded Martin.
MARTIN, C. FREDERICK
Born at Vienna 1825. Worked at Nazareth (New York). Died 1888. Chiefly guitars. Also a few ordinary violins. Branded C. F Martin. New York.
MARTIN, E.
Worked in Saxony, 1915. Very ordinary bows but neatly made, dark sticks and German-silver mounts. Stamped E. Martin. Sachsen.
MARTIN, G.
Bow-maker at Raun (Saxony), 1908-1925.
MARTIN, GUILLAUME
Worked at Paris, 1822-1830. Nephew, pupil and successor of Lejeune. Excellent impressions of Stradivarian modelling. Every step taken with accuracy and neatness.
MARTIN, HANS GEORG
Worked at Markneukirchen, 1742-1775. Modelling to be approved of, takes a middle path across German and Italian traits. Wood frequently of fascinating flame. Tone of desirable quality for the expenditure of 25.
MARTIN, HENRY
Worked at Nottingham, 1800-1830. Stainer modelling of fair achievement.
MARTIN, JEAN JOSEPH
Born at Mirecourt, 1837. Worked for J. B. Vuillaume at Paris. Died 1910. Made many splendid bows, only a few branded with his name. J. J. Martin.
MARTIN, JOHANN ADAM (1)
Born at Bruck, or Brugg (Styria), 1700. Labels do not quite elucidate whether he worked at Prag (Prague) or Prug (Brugg). Violins of the customary Saxonian type of his day. Arching between medium and flat. Sometimes without purling. Small scroll, quite insignificant for so broad a model. Generally a common dark brown varnish Tonal quality not altogether happy in mellowness though of fair power.
-----------------------------------
Johann Adam Martin
Violinmacher aus Prag 1726
-----------------------------------
(German lettering)
MARTIN, JOHANN ADAM (2)
Son of the preceding. Master in the Guild at Markneukirchen, 1774. Modelling distinctively differing in several points from that of contemporaries. Wood shows a wise discrimination in choosing. Varnish of more transparency, and a preponderance of yellow over brown. Affluency of warmth imparted to the tone.
--------------------------------
Johann Adam Martin
in Neukirchen bey Adorf
-------------------------------
MARTIN, JOHN
Worked at Gateshead-on-Tyne, 1870-1895.
MARTIN, JOHN ANDERSON
Resident at Appanoore (Iowa), 1910. Inventor (in collaboration with J.G. Clark), of a new-shape violin. Belly provided with a longitudinal bass bar, integral with its underside; bass bar (thickest beneath the bridge, and tapered towards each end) located under the G string - and may be of rectangular form, with or without a longitudinal groove on the bottom, or have tapering sides and a rounded bottom; customary corners of upper bouts entirely eliminated; sound-holes so located that the bridge is adjacent to their lower curved portions, and on a line with the tops of the corners of the model; only three strips for the ribs. Result - an exposition of eccentricity.
MARTIN, JULES
Proprietor of busy workshops at Germigny (Vosges mountains), and Mirecourr, 1850-1875. Also had affluent premises in the Rue de Rivoli, Paris. Successor to Darche, and, after 1875 amalgamated with Emile Mennesson at Mirecourt. Produced various grades of excellent commercial instruments, violins, cellos and double basses. Recipient of medals at the Paris Expositions of 1855, 1862 and 1867.
MARTIN, LOUIS
Born at Mirecourt, 1864. Apprenticed to his father (bow-maker), and though only in boyhood, entrusted with important work at the establishment of Deroux and Delinet. Went to Rheims to assist Mennesson before arriving at his 20th year. Settled at Angers, and ultimately succeeded to the business of Mebzner-Leblanc. Good Stradivarian models. Entire structure showing innate contourartistry superadded by the neatest workmanship. Splendid varnish generously applied. Tonal quality most refreshingly sonorous and clear.
--------------------
Louis Martin
Angers. No. 18
--------------------
MARTIN, HERMANN RICHARD
Born at Breitenfeld, 1866. Worked at Magdeburg and Budapest. Established at Bucharest, 1893-1914. Good modelling of various Italian types, reddish-brown varnish.
--------------------------
Herm. Rich. Martin
Fabricante de Violi
fecit Bukarest. 1894
--------------------------
(written)
MARTIN, OTTO OSWALD
Born at Markneukirchen, 1870. Established at Milwaukee 1893. Excellent copies of Italian models, reddish-yellow spirit varnish.
-------------------------------------
Made by Otto Oswald Martin
Milwaukee (Wis.) Sept. 1904
------------------------------------
MARTIN, PAUL
Born 1927. Worked at Angers for Jean Bauer. 1946.
MARTIN, WILHELM ERNST
Born 1862. Pupil of E. Glasel. Worked at Markneukirchen. Died 1907. Specialised in making replicas of a Nicolas Lupot model, most of them exported to U.S.A. Also good Cremonese copies.
-------------------------------
Made by / Copy
E. Martin / of
Saxony / Stradivarius
------------------------------
(facsimile of signature)
Assisted by two sons - Ernst Otto and Max Alfred.
MARTINENGHI, MARCELLO
Born at Venice in 1907. Son of Stelio. Worked at Milan 1932, and at Bassano del Grappa, 1943. Won gold medals and silver medals at Florence, Padua and Rome. Received laudatory testimonials by several violinists and cellists. Rational modelling, beautifully transparent varnish of golden yellow or brown shades - oil and spirit. Everything splendidly homogeneous. 125, 1960.
---------------------------------
Marcello Giovanni Battista
Martinenghi di Stelio
Opus
Venezia, 1948
--------------------------------
(with signature - also coat of arms of the City)
MARTINENGHI, STELIO
Born at Venice 1869. Cello soloist in ninth year. Died 1949. Made six violins and two cellos. Invented a cello bridge of unique design.
MARTINI, EDUARDO
Born at Firenzuola (near Florence) 1880. Died 1930. Several good violins and cellos. Label in Latin.
MARTINI, ORESTE
Born at Mantua 1893. Studied the double-bass in 14th year. Pupil of Scarampella for violin making. Won medals at Cremona, Padua and Paris. 125, 1960. Made (up to year 1949) 300 violins, 10 violas and 50 cellos - copies of ancient Italians, very choice woods, reddish-brown varnish. Also 45 double-basses with arched backs, some with reddish varnish of sombre hue, others with reddish-orange.
------------------------------------
Martini Oreste Mantova
Premiato con Medaglia dore
fece anno 19 . .
------------------------------------
(with signature)
-------------------------------------------------------
Martini Oreste
Instrumenti ad Arco
Premiato con Gran Premio e Medaglia doro
-------------------------------------------------------
(signed and dated)
One with similar wording except second line, which reads Instrumenti musicali.
------------------------------------------------------------------------------
Oreste Martini - Mantova.
Premier con gran premio e med. doro all Esposizione di Parigi.
Con gran premio e medaglia doro all Esposizione di Padova.
------------------------------------------------------------------------------
MARTYNIUK, VASSILI
Exhibited a Polodian violin at Lemberg (Poland), 1894.
MARVERTI, A.
Worked at Modena, 1814-1832.
MASCIOLI, P.
Worked at Fabriano (Italy). Crude and displeasing modelling, rough workmanship. Squarish shoulders, stunted middle bouts. Sound-holes too close together, Gasparo da Sal style, spreading at bottom. Good belly wood, nice varnish.
-------------------------
Philippus Mascioli
fecit Fabriani, 1779.
-------------------------
Viola (dated 1775) in the Dykes collection: Storioni style with slightly better sound-holes.
MASCOTTO, GIUSEPPE
Worked at Rovigo 1630-1640. Viols, and especially violas. Chitarrone in Copenhagen Museum.
-------------------------------------
Giuseppe Mascotto de Rovere
fecit Anno 1637.
-------------------------------------
Viola da Spalla in Brussels Museum.
---------------------------------
Isepo Marfeotto di Rovigo.
---------------------------------
MASENEER, JEAN DE
Worked at Brussels 1680-1720. Pocket fiddles and violins of no particular interest.
-----------------------
Jean de Maseneer
tot Bruxelles
-----------------------
MASETTI, CARLO
Worked at Florence, 1915-1920. Nearer to the Stradivarian model than any other, but far removed from it in gracefulness. Whole appearance somewhat of the trade type. Upper bouts lacking in nice curvature. Waist curves too long, and out of proportion. Common looking sound-holes, centre notches very inartistic. Scroll more satisfactory, purfling not neatly done at corners. Sometimes thin in wood, consequently hollow tone. Often wide grain belly wood, slab backs of strangely figured material. Dull yellow or dark red varnish. There may be examples less open to criticism, but we have not seen them. 90, 1960.
---------------------
Carlo Masetti
in Firenze, 1920.
---------------------
MASSAGUER, JOSE
Worked at Barcelona, 1760-1770. Interesting and natural modelling, agreeably arresting the attention though sometimes unpurfled. Fair workmanship, blameless sound-holes, pretty varnish, flourishing tone. Style considerably resembles that of a Guillami. Body length 36 cm., upper bouts 16, lower 21, middle 11.
----------------------------------------------
Josephus Massaguer fecit Bachinione
Anno. 1766.
----------------------------------------------
(sometimes 3-lined)
MASSARELLI, GIUSEPPE
Worked at Turin 1847-1855. Discriminating and nicely flat arching. Accurate workmanship. Strong edges. Orange-red varnish.
-------------------------------
Guiseppe Massarelli
fecit Taurini, Anno 1851.
-------------------------------
MASSARI, ANSELMO
Worked at Forli (Italy). Little known.
MASSENZIO, E.
Born 1900. Favoured with advice from Dr. Pasqualini at Rome. Won silver medal.
-----------------------
Massenzio Ermete
face in Roma.
A.D. 1949.
-----------------------
(with signature)
MASSON, NICOLAS and ANTOINE
Two brothers. Born at Thons (Vosges) 1863 and 1864. Spent several years studying the fundamentals of physical and acoustical laws observed by the Cremonese makers. Gained constructive experience at Mirecourt. Made experimental instruments until reaching their goal. Opened an atelier at Paris 1899, and advertised their new violins, violas, and cellos. Copied the models of a Stradivarius, Guarnerius, Amati, and Stainer, but especially recommended their own original model of very elegant form. To this they emphatically ascribed remarkable responsiveness of tone, one that stood the requirements of modern brilliance and vigour, also easily overstepping the tonal boundaries of the older instruments, etc. Further claimed that their home-made varnish of a pretty golden red hue was absolutely a secret preparation. 80, 1960.
MASSON, P. J.
Frenchman. Patented an eight-stringed violin, 1890. Each of the customary four strings duplicated, and so fixed on the nut and bridge as to allow of being bowed and finger-stopped simultaneously. Greater sonority achieved, but not enhancement of tone, in fact, a purely experimental timbre quite different from that of the ordinary violin. Belly and back of thicker wood to bear the additional strain, thus muffling tone and robbing it of all sweetness. Eight pegs, and slightly wider neck to give necessary space between the adjacent strings. Another fiasco which came to nought.
----------------------------------------------------------
S. AE. SS. A.E.N. Nicolaus et A. Masson fr lot
fecerunt app. q. lIntelligence.
Anno D.N.J.C. 1900.
Paris, 44. Rue Ramey, 44.
----------------------------------------------------------
Both brothers autographed their names. Each instrument has a different name.
MAST
Bow maker, worked at Mirecourt and Paris. Light coloured sticks of fine strength without being heavy, a comforting acquisition for strong players. Some splendid specimens with remarkably original shaped heads.
Branded Mast a Paris or Mast.
MAST, BLAISE
Instruments supposed emanating from Paris, but actually made at Mirecourt, 1820. Violins of ordinary style, dark yellow varnish.
Branded Blaise Mast Paris.
MAST, JEAN LAURENT
Worked at Mirecourt and Paris, 1750-1789. Large and flat model, uppish shoulders, not particularly attractive. Weak scroll, too wide at the throat, and front does not come sufficiently forward. Sound-holes too straight in stem. Careless purfling. In no detail of workmanship can he claim honours. Moreover he had not sufficient knowledge to rightly understand varnishes and varnishing, and further disfigured his instruments by a thick spirit preparation, originally of dark brown or deep red shade, but now gone almost black. Strong but roughish tone, 20 being the recognised value. (1920).
Branded -
-------------
J. L. Mast
A. Paris
-------------
or
-----------
L. Mast
a Paris
-----------
at the top of the back as well as inside where the label is usually placed.
MAST, JOSEPH LAURENT
Born at Mirecourt, 1779. Son and pupil of the preceding. Apprenticed to Nicolas and adopted several of his methods of wood preparation and branding. Eventually settled in Toulouse. Majority of instruments prettily dimensioned, the width across being rather shorter than the average Mirecourt violin. Workmanship not beautifully accurate. Scroll lacks dignity, purfling just misses neatness. Arching perhaps slightly over done. Gracefully slanting sound-holes, though seldom sitting in the orthodox position. Two varnishes, orange red and yellow brown. Some backs of mottled wood, belly wood invariably of fine fibre. Sometimes (to please his patrons) he indulged in decorating the backs with representations of female and other figures, this applying more to the guitars he produced, though occasionally the violins were treated to this (to our mind) degenerate and tonal detrimental frivolity. Fairly strong tone but rather harsh. 80, 1960.
------------------------------------
Joseph Laurentius Mast
fecit Apollini Deo Harmoniae
1816.
------------------------------------
Shop sign: Apollo - God of Harmony.
---------------------------------------
Racommode par Mast, rue
des Balances Toulouse, 1808.
---------------------------------------
Branded Mast Fils. Toulouse, 1825, inside and outside, sometimes one line, but more frequently two.
MASTERS, J. K. S.
Resident at Worthing. Made several violins each of a different model, well constructed and good varnish artistically applied.
--------------------------
A.D. 1884. No. 3.
Made entirely by
me J. K. S. Masters.
Worthing, Eng.
--------------------------
MASTERS, J. W.
Amateur at Manningham (Yorks), 1924.
MASTINI, G. ALESSANDRO
Worked at Penna (Italy), 1720-1740.
------------------------------
Giacomo Aless. Mastini.
Penna. 1730.
------------------------------
MASTRACCI, AMEDEO
Born at Paganica (Abruzzi), 1895. Cabinet maker at Rome. Made 26 violins, oil and spirit varnish of walnut shade.
-----------------------------------
Mastracci, Amedio
fecit 20-6), 1950
Via dei Latini. N26.B.Roma.
-----------------------------------
(written)
MATABOSCH, FRANCESCA
Worked at Barcelona, 1755-1765. Violins marked by nothing beyond ordinarities.
MATABOSCH, JUAN
Worked at Barcelona, 1795-1805. Violins of interest if only as stimulating a curiosity to know what a Spaniard can do. Few specimens. More famed for a prolific number of guitars.
-------------------------
Juan Matabosch
Fecit Barcelo. 1797.
-------------------------
(Large lettering, cross at the top)
MATERN, JOHANN C.
Lived at Warmbrunn (Silesia), 1760. Violins and viol damours. Heavy looking and clumsy high arching, rough workmanship. Yellow brown varnish.
--------------------------------------
Joh. Christoph Matern
Violinmacher.
Warmbrunn nachst Hirschberg.
--------------------------------------
MATHER, ALEXANDER
Born 1852. Amateur at Plumstead (Kent), 1900.
MATHEWSON, CHARLES H.
Resident at Providence (Rhode Island), 1877. Splendid achievements in Strad modelling, enhanced by an excellent varnish of own formula. Also bows which have received adulation from well known soloists.
MATHIAS, THADDEU
Worked at Nurtingen (Swabia), 1695-1712. Considerable cleverness.
-------------------------
Th. Mathias.
Nurtingen en Swabe
Anno 1704.
-------------------------
MATHIEU, FRANCOIS
Bow maker at Mirecourt, 1774. Strong sticks not refined workmanship. Stamped Mathieu.
MATHIEU, M.
Trade mark of Charles Bailly (Mirecourt). First-class modelling, oil varnish.
MATHIEU, NICOLAS
Born 1743. Worked at Mirecourt (though instruments are given as from Paris) until 1789. Points frequently assailable in Mirecourt work are here covered with artistic defences. Kept his eye fixed upon modified Stradivarian principles (broader proportions and arching slightly more elevated) with all the undeviating intentness of his race whilst every part of a well laid out plan is brought to assist and enhance the whole contour. Often very pretty wood, rich brown or orange varnish. Tonal quality inclines towards mellowness, while its fullness is never questioned. Catalogued at 20 (1925), one specimen valued at 250 dollars in the United States (1930). 80, 1960.
------------------------------------
Nicolaus Mathieu.
Faiseur dinstruments Paris
Anno 1780.
------------------------------------
Many examples branded Nicolas Mathieu on the inner side of the back.
MATHIEU, PAX PIERRE
Lived at Saint Omer (France). Stradivarian outline and arching, deep ribs, orange brown varnish.
---------------------------------
Pax Pierre Mathieu
Derique Rue des Jesuits
Saint Omer. Anno 1800.
---------------------------------
MATHOUK, KHALIL
Maker of Syrian national instruments at Damas, 1925.
MATHURIN
see DUCHERON.
MATTHEWS, R. S.
Born 1915. Pupil of Glenister (London). Enthusiastic amateur. Several well made violins, Cremonese models. Oil varnish of own formula, golden chestnut, golden red or golden yellow.
-----------------------------
R. S. Matthews.
Maker.
Croxley Green, Herts.
No. . . Fecit anna 19. .
----------------------------
MATTIOLI, CORRADO
Double bass player at Milan. Double basses of individualistic modelling. Also a mechanical innovation to facilitate technique.
MATTSSON, ALBIN NATANAEL
Born 1888. Amateur at Harestadt (Sweden).
MATTSTADT, JOHANN FRIEDRICH
Worked at Berlin, 1760-1795. Quite ordinary designs, yellowish red varnish.
------------------------
Joh. Fr. Mattstadt
fecit Berolin, 1792.
------------------------
MAUBORGNE, JOSEPH O.
Born at New York, 1881. Resident at Fairhaven (New Jersey), 1946. Artistic copies of standard models, excellent varnish applied to give an old appearance.
MAUCHANT, NICOLAS
Worked at Mirecourt, 1789-1853. Various models, well developed and excellently varnished of different grades in price. His Maggini models have little more personality, handsomely flamed backs of one piece, double purfling, golden yellow varnish, strong and robust tone.
-----------------------
Nicolas Mauchant
Aine Luthier.
-----------------------
Bearing the cross and anchor between his initials. Also branded Marchant or Mauchant-Vaudel.
MAUCOTEL, CHARLES
Born at Mirecourt, 1807. Pupil of Blaise Mast. Worked for Gand at Paris, 1834. Came to London, 1844. Retired 1860. Returned to France. Died 1860. Conscientious worker, took pride in only turning out first-class instruments. Prepared a rich varnish and arrived at highly satisfactory tonal results. 70, 1960.
-------------------------
Carolus Maucotelus.
fecit Londini, 1852.
-------------------------
MAUCOTEL, CHARLES ADOLPHE
Brother of the preceding. Born at Mirecourt, 1820. Worked five years for Vuillaume. Established in Paris, 1844. Committed suicide, 1858. Made (with assiduous urgency to create masterpieces) many splendid violins, violas and cellos. Stradivarian and Guarnerian modelling. Finest wood and very effective varnishing. Strong clear tone, which has consistently advanced to maturity with the passing years. 85, 1960.
---------------------------------------------------
Charles Adolphe Maucotel Paris
Rue Croix des Petits Champs Annee, 18. .
---------------------------------------------------
MAUCOTEL, ERNEST
Born at Mirecourt, 1867. Apprenticed to Paul Bailly. Worked for his uncle at Moscow, 1885. Partner of H. C. Silvestre, 1900. Associated with Paul Deschamp (distinguished expert), 1922. Generally replicas of Seraphino, Montagnana, and Gofriller. Reddish-brown oil varnish. 90, 1960.
--------------------------
Silvestre et Maucotel
Paris, 1901. No. 439
--------------------------
-----------------------------
Maucotel et Deschamp
Paris. 19 . . No. . .
-----------------------------
MAUCOTEL, JOSEPH
Born 1874. Worked at Mirecourt. Died 1904. 70, 1960.
MAUCOTEL, JUSTIN
Worked at Mirecourt 1805-1820. Clever craftsman who generally remained aloof from supplying ordinary merchandise. Persistently worked with the sincere consciousness of only producing the best that his artistic capabilities would admit of, though perhaps the pecuniary emoluments were less enticing. Various models, usually of large pattern sometimes dpuble purfling, yellow or reddish varnish. Branded Justin Maucotel Luthier in triangular fashion - sometimes with a lyre as a background. 90, 1960.
MAUGER, E.
Established at Rennes (France), 1913-1925.
MAUGIN, J. G.
Originally a violinist resident in Paris, 1825. Became fascinated with constructive art, studied for several years at Mirecourt. Subsequently produced a large number of violins, guitars, and bows when he returned to Paris. Generally favoured the Amatese model, golden-brown varnish, neat workmanship, and excellent tone.
-----------------
J. G. Maugin
Paris. 1829.
-----------------
Some branded Maugin Paris. Author of Manual for Violin Makers (Paris, 1834), second edition with additions by W. Maigne. 250 pages of very informative material concerning the art of making. (illustrated.)
MAURETTI, IGNAZIO
Several departures from refinement. Brown varnish.
MAURER, NICHOLAS
Born 1858. Wood carver. Resident at Beech City (Ohio). First instrument produced 1890. Generally modelled on the Dolphin Strad. Brownish-red varnish.
MAURIZI, BROTHERS
Lived at Appignano dAscoli Picino (Italy), 18 . . Called Pulghina. Agriculturists who employed free time in making instruments for the peasantry of their district. Three-stringed fiddles of rebec type, also guitars and mandolines.
MAURIZI, CAROLUS
Worked at Bologna. Violins and violas largely circulated by Beare and Son, London, 1900. Amatese Strad modelling - nice representations of modern workmanship. Deep orange-red varnish slightly shaded. Catalogued at 7 and 8.
Label with decorative border. 30, 1960.
----------------------------
Carolus Maurizi
Fece in Bologna, 19 . .
----------------------------
(decorative border)
MAURIZI, FRANCESCO
Worked at Appignano (Italy), 1840. Died 1903. Outline rather attractive in spite of the rather abrupt curvatures of the waist. Quick gradient from the purfling then flat near centre, a pronounced dip all round. Narrow edging, purfling very near the edge. Large but weak-looking scroll, not carefully worked at the approaches to the boss, too abrupt at the front - scalloping not at all smooth. Longish narrow sound-holes, having some characteristics of the Amati but less handsome, upper curves rather inartistically broadened. Brownish-golden varnish, of fair quality but slight transparency. Splendid and prettily marked material, plentifully and accurately thicknessed. Nicely full tonal quality, very clear though only having a modicum of real brilliance. 100, 1960.
------------------------
Anno 1850
Franciscus Maurizi
Appineanensis
Fecit.
------------------------
sometimes pretty ornamented border, occasionally of large oval shape, not always dated)
-----------------------------------
Francesca Maurizi
fece in Appignani, nel 1856.
-----------------------------------
------------------------------
Fecit Franciscus Maurizi
Apponeani
------------------------------
------------------------------
Fecit Franciscus Maurizi
Apponeani, 1798.
------------------------------
this is falsely dated by dealers)
MAURIZI, GIOVANNI
Son and pupil of Francesco. Worked at Appignano, 1870. Died 1922. Excellent Amatese modelling. Also made Brescian and Tyrolese models for dealers.
---------------------------------------
Anno, 1902 fecit
Maurizi Giovanni fu Francesco
Appignano del Tronto.
---------------------------------------
MAUROS, ANDR Double-bass maker in Paris, 1914.
MAURRI, P.
Mandoline maker at Florence, 1913.
MAURY, FRANCOIS
Worked at Mirecourt, 1763. Excellent bows. Stamped Maury.
MAUSCHAUER, JOSEF
Worked at Klinghart, near Wildstein (Bohemia), 1908-1925.
MAUSSIELL, LEONARD
Born 1685. Worked at Nrnberg (Bavaria), 1706-1765. Frequently copied the Stainer outline and excessive arching, others bear a resemblance to the Tecchler style with slightly reduced arching - very occasionally tried flatter modelling. Compressed scroll, but neatly worked, many specimens have elegantly carved heads of womens or lions faces. Narrow sound-holes. Purfling rather shaky, frequently of whalebone. Belly wood generally of medium grain, generally onepiece backs. Dark golden-orange or yellow, or brownish-red shades of varnish - very seldom light yellow. Tonal quality quite excellent notwithstanding the high arching; G and D strings of viola-like depth, but only moderately powerful. 65, 1925.
------------------------------------
Leonhardus Maussiell
me Jecit Nurmberg. An 1736.
------------------------------------
----------------------------------------------
Leonhard Maussiell, Lautten.
und Geigenmacher in Nurnberg, 1720.
----------------------------------------------
Sometimes a written label. Often branded L.M. with the Imperial Eagle between.
MAWBEY, FREDERICK H.
Worked at Nottingham, 1900. Backs generally of one piece. Attractive modelling. Light red, orange-brown and pale yellow shades of varnish. Tone much appreciated by the best players in the Midlands. Label with monogram circled.
MARIGLIA, F.
Worked at Chieti (Italy), 1943. Cremonese and Neapolitan modelling; golden-brown or reddish-orange varnish.
--------------------------------
Francesco Mariglia.
fece in Chieti, anno 1951.
--------------------------------
(with signature)
MAY
Excellent violins and violas, somewhat on the Stainer model. Lovely work.
-------------------
May, maker
London, 1747.
-------------------
MAYER, HERMANN
Tyrolean. Worked 1885-1910. Specimen realised 10 in 1924.
MAYER, KURT
Born at Schonbach, 1902. Worked in several German cities. Established at Berlin 1938. Cremonese modelling, various styles cleverly imitated.
MAYR, ADAM
Lived at Au (suburb of Munich), 1705-1720. Pre-eminently pleasing Stainer designs. Sometimes lion heads. Particularly conspicuous for richness of wood. Varnish unfortunately too thick and non-transparent.
----------------------------------------
Adam Mayr
Geigenmacher
ob der Au negst Munchen, 17 . .
----------------------------------------
MAYR, ANDREAS FERDINAND
Born at Vienna. Worked at Salzburg 1720-1764. Maker to the Court of the reigning Archbishop. Made the small violin on which Mozart first practised. High arching of the Stainer ideas, talented and careful workmanship, fairly rich dark red or brown varnish. Belly wood of wide grain, acoustically excellent; one-piece backs of finely flamed material. Hollowish tonal quality, and of that order of mellowness which has no security against an untimely grave. One specimen dated 1727, had 500 dollars placed beside it in an American catalogue, 1921. Violin dated 1764, body length 37.4 cm., upper bouts 16, middle 11.1, lower 19.9.
---------------------------------------
Andreas Ferdinandus Mayr.
Hof Lauten und Geigenmacher
in Salzburg, An 1735.
---------------------------------------
(German lettering)
Sometimes gave his Christian name as Andra. Some labels bear the Archbishopric coat of arms.
MAYR, JOHANN MICHAEL
Worked in Hallein (Tyrol), 1809-1815. Violins with a variety of marks proving the skill of the maker. Scroll and sound-holes particularly attractive.
----------------------------------------------
Johann Michael Mayr
Zittern und Geigenmacher, in Hallein
1813.
----------------------------------------------
MAYR, MARTIN
Instrument maker at Kempten (Bavaria), 1920-1927. Violins made by assistants.
MAYR, SEBASTIAN
Worked at Munich, 1725-1735. Stainer modelling, non-transparent brown varnish.
-----------------------------
Sebastian Mayr Lauten
und Geigenmacher in
Munchen, 1728.
-----------------------------
MAYRHOFER, ANTON
Worked at Passau (Bavaria). Attached to the Court. Ordinary modelling and medium arching, brown varnish.
---------------------------------
Antonius Mayrhofer Junior
fecit Passavii Ao. 1770.
---------------------------------
MAYSON, STANSFIELD
Son of Walter H. Worked at Manchester, 1895-1924. Violins of sound structure, attractive in design, flawless work, fine old wood, oil varnish of his own preparation. Adopted his fathers plan of giving a name to each production. Two violins, Rob Roy and Salome, dated 1909, should satisfy the most exacting connoisseur. Also a viola Parisina, 1909, deserves all eulogium.
MAYSON, WALTER H.
Born at Cheetwood, 1835. Worked at Manchester. Opened a shop in London, 1899, but made only a slight impression. Returned to Manchester, much disappointed. Died 1904. Polygon (many angles and sides) was the name he gave to his first workshop in Manchester. Self-taught in violin making, intense enthusiasm carried him forward until he achieved (particularly in the North of England) the success that genius must command. But afler reaching his zenith, his star unaccountably grew less and he died broken hearted. Early productions not particularly distinguished and his reputation was endangered by using a varnish too soft to stand ordinary usage. Scrolls lack grace and he occasionally tripped in the arching, also stumbled over the purfling and the wood he chose was frequently not conductive to the production of the best tone. However, he persevered, found out what was wrong and inappropriate, avoided all points that had previously been open to objection and improved every structural incoherence inside the instruments. Yielded to no undercurrents of speculative experimenting (the bane of many makers), but was wisely content to travel along the road previously made for his guidance by the Cremonese. And thus his later productions attain more artistry. The dignity of the scrolls at once flashes upon us, there is no haziness or uncertainty about the undulating curvatures of the whole model and no want of exactness about the proportions. Beautiful finish of the strong edges and perfect purfling further enhance the workmanship. Somewhat elongated sound-holes but very finely cut. Golden red or an equally rich yellow varnish, very lustrous and transparent, most of it prepared by an artist friend named J. J. E. Wood (resident at Redhill, Surrey). Splendidly full tone, which will become magnificent when the necessary years of playing have matured it. Produced the astounding total of 810 instruments. Varied modelling, some follow the Stradivarian, others resemble the Guarnerian and a few are Amatese. Some ornamented on the back with landscapes, flowers and figures carved in bas relief, attractive as works of art, but of slight value tonally, attributable to the inequality of the thicknessing caused by the carving. Also a large number with elaborately designed scrolls. Each instrument variously and fancifully named.
---------------------------------------
Deus adsit, obsit Mundus
Walter H. Mayson, Manchester.
Fecit Anno 1878.
---------------------------------------
--------------------------
Walter H. Mayson.
Manchester. Fecit. 3
Panope x
1903. 2
--------------------------
Other names: -
Alfred the Great,
Arcturus, 1893.
Blea Tarn.
Anemone,
Bianca dopia,
Convolvulus.
Cordelia, one of his finest creations, of which several connoisseurs averred that the mantle of Stradivarius had permanently settled on the shoulders of Mayson.
Drusilla, 1903.
Eudocia, Great Heart.
Elepanta,
Ethelberta,
In Memoriam.
Halle, somewhat Stradivarian in outline, not very flat, corners rather extended, broad flamed material for the back, belly wood of medium reed, showing here and there beautiful feathery flashes, noble aristocratic scroll, golden red orange varnish having the prismatic effects of the chameleon and an Italian quality of singing tone.
----------------------
In Memoriam
Sir Charles Halle
Obif 1895.
--------------
Walter Mayson.
Fecit Manchester.
----------------------
Isidor,
Kitchener,
Lord Cavendish,
La Tosca,
I will arise,
Lake Fiddle,
Lynette, 1881,
Nautilus, 1889,
Old Windsor,
Moliere,
Omphale, 1895,
Queen Alexandra, 1901,
Portinscale,
Rosa Bonheur,
Sarasate, 1883 (made at Windermere),
Thomas Haviland Burke,
Thirlmere,
Viviette, 1892,
Wastdale,
Strathcona,
Also a cello named Edward VII, 1901 (very artistic and individualistic). Author of Violin making (Strad library) containing all there is to know relative to minute construction, a book much circulated and valued in America. Wrote poems and romances (one titled The Stolen Fiddle). 80, 1960.
MAZARAND
Worked at Mirecourt, 1810-1832. Ordinary modelling and workmanship, cold looking yellow varnish. Branded Mazarand Mirecourt, 1827. Date written.
MAZZUOLI, F.
Resident at Rome, 18th century. Only known by arched back double bass.
---------------------------------------------
Felix Mazzuoli Fecit Anno Domini
MDCCLXXXIII Romae
ad usum Canonici Francesci Orlandi.
---------------------------------------------
MEAD, L. J.
Working in Cosham, Portsmouth, 1947. Violins, violas and cellos, excellent workmanship and varnish.
MEADOWS, LYLE JOHN
Born 1898. Resident at Ottowa, 1925. Cremonese models, oil and spirit varnish.
MEARES, RICHARD
Worked in London, 1676-1736. Made many lutes and viol-da-gambas, also a few violas and violins. Medium size Stainer outline and sound-holes, arching slightly reduced, purfling sunk in a deep groove. Well selected wood, chestnut red varnish, somewhat thick but lustrous, satisfactory workmanship. Tonal quality very mellow but also rather small and non-penetrating.
------------------------------
Richard Meares
without Bishopsgate
near to Sir Paul Pinders
London, Feci 1677.
------------------------------
--------------------
Richard Meares
London. 1700.
--------------------
---------------------
Ricardos Meares
Londini. 1702
---------------------
------------------------------------------
Richard Meares, 1736.
Instrument Music Fabric in area
Boreali. D. Pauli apud Londinates.
------------------------------------------
MEARES, RICHARD
Son and pupil of the preceding. Made a few violins but adopted another profession after his fathers death.
MEAUCHAU
Bow maker at Paris, 1720-1750. Stamped Meauchan Paris, sometimes with date.
MEBZNER, LEBLANC
Established at Angers (France), 1870-1890. Principal music shop in that town. Employed several Mirecourtian violin repairers.
MECUM, CHRISTIAN
Born 1805. Theatre musician at Cologne. Produced several violins of ordinary design and workmanship, 1850-1875, some with lion heads. Formulated a varnish which subsequently proved to be highly injurious to the wood. Ruined many old instruments sent to him for repair on which he exercised his vandalism by removing the original varnish and replacing it with his own pernicious substance.
MED, WENZEL
Born 1847. Worked at Iglau (Jihlava Moravia). Instruments date from 1878 to 1908. Many specimens built on the Bagatella regulations. Others of Stradivarian modelling with non-improved modifications. Also several of the Stainer type for which he seemed to have had a predilection, achieving noteworthy grace in the high arching. Resinous varnish of the shellac kind. Recipient of several Exhibition medals.
------------------------------
W. Med.
Geigenmacher - houslar
Iglau Jihlava,
------------------------------
MDARD, ANTOINE
Born 1621. Son of Henri. Worked at Nancy (France). Died 1678. Made pocket violins with carved heads of womens and other faces, instead of a scroll. Violins of neat workmanship. Reddish-brown varnish of splendid quality. Sound-holes gracefully cut after the Amati style. Made instruments for the French Court.
----------------------------------------
Antoine Mdard Nancy, 1666.
----------------------------------------
----------------------
Antonius Mdard
Nancy, 1666
----------------------
-------------------------
A. Medari. F. 1660.
-------------------------
MEDARD, CLAUDE
Born 1575. Worked at Nancy, 1604-1648. Regarded as one of the founders of the Lorraine school of violin making.
MEDARD, DOMINIQUE
Born 1626. Son of Nicolas.
MEDARD, FRANCOIS (1)
Worked at Nancy. Died 1631. Designated himself as velonier and violonier.
MEDARD, FRANCOIS (2)
Born at Nancy 1647. Worked at Paris, 1680-1720. Erroneously stated to have been a pupil of Stradivarius. Far more likely that he studied with Amati; his instruments having stronger claim to some points of similarity to those of the latter, rather than to of any of the former. Appointed instrument maker to Louis XIV, and made several emblazoned instruments which have since been mistaken for the work of Amati. Rather small model but does not overstep the assigned boundaries of its prototype. Arching slightly prominent, but in harmony with the entire structure. Neat purfling, and pretty sound-holes. Well cut scroll, but effeminate looking. Very choice transparent rose coloured varnish. Up to a certain point we avow ourselves not unfriendly towards the carefully finished productions of this maker. Some sedate dealers shake their heads at them, and a few fanatics who live only among Italian fiddles, have wasted paper and ink in useless contempt, but years and wider experience have dissipated nearly the whole of these criticisms. Excellent tone (though not possessing the peculiar Italian quality) now acknowledged beyond controversy 90, 1960.
------------------------
Franciscus Medard
fecit Parisiis, 1705.
------------------------
--------------------
Francois Medari
Nancy, 1675.
--------------------
------------------------
F. Medard. Luthier.
Paris 1717 +
------------------------
MEDARD, HENRI (1)
Worked at Nancy and Paris, 1620-1630. Love of making evinced itself strongly in boyhood. Received initial training from his father. Sent to Cremona to study with Amati. Subsequently attached himself to reproducing the principal traits of that master. Instruments denote his character, earnest, energetic, and indefatigable to produce delicate and refined workmanship. And if there has been, here and there, a pebble cast in his way by a few connoisseurs, there have been others who have tried to enrol his name on a high niche of fame. Made some cellos which are now much sought for by French soloists. 80, 1960.
-------------------
Henry Medart
Nancy. 1627.
-------------------
MEDARD, HENRI (2)
Born at Nancy 1629. Son of Henri (1). Wandered to Italy. Gained experience at Cremona; and settled at Turin, 1646. Produced several fine-toned violas.
------------------
Henri Medard
Turin, 1646.
------------------
MEDARD, JEAN
Son of Claude. Worked at Nancy, 1650-1680. Style and workmanship similar to that of Nicolas.
MEDARD, JEAN DOMINIQUE
Worked at Mirecourt and Nancy, 1680-1720 Attractive model, nice varnish, often with one-piece back, signature by tailpin, and some specimens decorated with the Lorraine Coat of Arms.
-------------------------
Medart Mirecourt
an 1710.
-------------------------
(written)
MEDARD, NICOLAS
Son of Claude. Born at Nancy, 1628. Worked alternatively at Paris and Nancy, 1632-1680. He, with his relative Francois, supplied instruments for the Court orchestra of Louis XIV. These instruments are oil varnished in lightish red. Emblazoned with the Coat of Arms of France and Navarre, together with the monarchs motto Nec pluribus impar. After migration to Nancy he was commissioned by Charles IV (Duke of Lorraine) to make similar violins for his orchestra. These are also oil varnished, and bear the armorial of the Duke and other ornamentations. Thus the Lorraine school of violin making was founded. Though living at Nancy he labelled most of his violins as coming from Paris. Remarkably fine copyist of the Nicolo-Amati small pattern. Sound-holes faithfully reproduced in the most subtle manner. Gorgeously pretty wood. Fine and rich golden-red varnish. Tonal quality silvery and delightful softness but lacks breadth.
Catalogued at 70, 1926. 125, 1960.
--------------------
Nicolas Medard.
Nancy, 1635.
--------------------
--------------------
Nicolas Medard
Paris, 1641.
--------------------
---------------------
Nicholas Medard
Nancy, 1680.
---------------------
MEDIO FINO - Middling fine.
Cheap violins and cellos made at the Thibouville Lamy factory, Mirecourt. Brown or yellow varnish. 10, 1960.
MEDLEY, JEFFERSON
American, 1928. Made double violins, also one bringing a mandoline and violin together, and various violins of unique shapes.
MEEK, JAMES
Born 1862. Worked at Carlisle until 1923, then removed to Birkenhead. Instruments of his own model obviously the result of long thought and careful study of all other models. Built some violins modelled after the Messe and the Riechers Strads outline and arching worthy of entire approval. Successful also with Guarnerian modelling. Amati and Maggini likewise had some attention from this versatile man. Workmanship of scroll and sound-holes quite splendid. Oil varnish, yellow light and dark orange, light and dark red. Well selected material both top and back. 20. Produced about 80 violins and several violas.
------------------
James Meek
Carlisle. 1914.
------------------
(large lettering)
MEER
see VAN DER MEER.
MEGAZZI, ENRICO
Worked at Palermo, 1815-1830. Ordinary violins with dark brown varnish.
MEGELLS, C.
Worked at Gothenburg (Sweden), 1892. Instruments fully demonstrating those primary and indispensable characteristics of the good conceptionist, sobriety of design and discretion in varnishing.
MEGGISON, ALFRED
Worked at Manchester, 1800. Instruments of high arching not gracefully graduated. Hand slightly embarrassed when cutting the scroll and sound-holes.
MEHNE, EUGEN
Worked at Breslau, 1922. Customary modelling of the Cremonese.
MEI, GIOVANNI RANIERI
Born in Italy 1863. Amateur. Produced about 20 carefully made violins. Won diploma at Cremona. Enthusiastically worked until 85th year.
MEIBERI, FRANCESCO
Worked at Livorno (Leghorn), 1741-1763. Modelling of that almost exquisite naturalness with which each part falls into its rightful place. Rich shade of varnish smoothly applied. 95, 1960.
MEIER, KARL
Born 1869. Studied at the violin-making school of Schnbach. Established own workshop, 1889. Produced replicas of the old Italian style, also Tyrolean models. Good wood covered with a spirit varnish. Diploma of merit at the Eger Exhibition, 1897.
-------------------------
Karl Meier, Jun.
Schnbach bei Eger
1893.
-------------------------
MEIER-PAUSELIUS, WILLY
Born at Hamburg. 1895. Pupil of August Diehl and Georg Winterling, 1910-1913. Passed all the tests in wood working at the Art School. Simultaneously studied guitar playing with his father Georg (eminent virtuoso), and became proficient on the violin. Worked for several makers in Germany, Italy, France and Scandinavia. Passed the state examinations in violin making, 1921. Set up own atelier at Hamburg, 1921. Next two years occupied largely with studying the fundamentals of the Italian secrets, perfecting his constructive abilities, and gaining indispensable acoustical knowledge. Brought out a new concert guitar of remarkable originality and tone, 1923. Lived at San Francisco two years. Returned to Hamburg 1925. Violins of Stradivarian and Guarnerian modelling. Reddish-yellow oil varnish. Recipient of several testimonials from famous virtuosi, concerning the subtle and triumphant tone and flawless workmanship.
MEIERL, HANS
Worked at Markneukirchen, 1899. Violins, violas, cellos and guitars. Assisted by son Hans.
----------------------
Hans Meierl
Geigenbaumeister
Markneukirchen
Albertstrasse 13
----------------------
(oval)
MEIKLE, ROBERT
Born at Lesmahago (Scotland), 1817. Violinist. Died 1897. Violins adroitly constructed and carefully varnished.
MEILI, G.
Resident at St-Gallen (Switzerland). 1925. Inventor of a tone improver named Sonor - three strips of wood (freely vibrating on one side) glued to the breast plate, and tuned by drops of shellac varnish.
MEINDL, FRANZ XAVIER
Born at Munich. Worked at Wrzburg, 1832. Non-attractive Stainer modelling. Better guitars and zithers.
----------------------------------
F. Xav. Meindl Monacensis
fecit Herpibolis Anno 1841
----------------------------------
----------------------------------
F. X. Meindl
Saiten-Instrumentenmacher
in Wrzburg, 1853
----------------------------------
------------------------------------
F. Xavier Meindl Monacensis
Geigenmacher
Fecit Wrzburg, 1839
------------------------------------
MEINDL, FRIEDRICH
Worked at Wrzburg, 1860-1894. Produced many violins and cellos of elegant form which have received the warm patronage of amateurs. Workmanship exhibiting a free and unhesitating manner. Plentifully and prettily wooded. Cherry red spirit varnish on a golden yellow ground.
--------------------
Fried. Meindl
Wrzburg 1864
--------------------
(sometimes not dated)
----------------------------------
Friedr. Meindl
Saiten-Instrumentenmacher
in Wrzburg
----------------------------------
(red printing on glossy yellow paper)
MEINEL, ARNOLD KURT
Worked at Erlbach, 1922. Excellent copies of standard models. Assisted by son Rolf.
MEINEL. AUGUST
Worked at Klingenthal (Saxony). Longish model of excellent design. Corners frequently rather sharply pointed. Brown varnish without fire. Acoustically good belly wood; backs and ribs generally of very plain material. Workmanship and tone of the usual Saxonian type
-------------------------
Mstr: August Meinel
in Klingenthal 1819
-------------------------
MEINEL, AUGUST
Born at Markneukirchen, 1868. Worked at Dresden and Ble. Established at Liestal (Switzerland), 1902. Made 300 violins entirely by hand, also many unvarnished for Italian dealers.
MEINEL, CHRISTIAN
Worked at Klingenthal, 1748. Ordinary looking instruments but of fair workmanship. Tonal quality rather mellow but no richness or clarity. Branded C.M..
MEINEL, CHRISTIAN AUGUST
Worked at Zweibrdergrund (near Klingenthal). 1755-1784. Saxonian type of modelling worked out with unquestionable skill. No departure from his manifest intention of just producing a decent violin at a cheap price. Reddish-brown varnish of nice appearance. 65, 1960.
---------------------------------------------------------
Christian August Meinel. Violin und
Instrumentenmacher in Zweitbrdergrund 1755
---------------------------------------------------------
MEINEL, CHRISTIAN FRIEDRICH (1)
Worked at Klingenthal and Markneukirchen, 1730-l759. Master in the Violin Makers Guild, 1730. Flattish modelling somewhat similar to the older Hopf style. Yellow-brown or orange-red varnish of good quality, plentifully applied. Branded *C*F*M* on the back, inside. Also C.F.M. outside.
--------------------------------
Christian Friedrich Meinel
Violinmacher
aus Klingenthal Ao. 1738
--------------------------------
MEINEL, CHRISTIAN FRIEDRICH (2)
Worked at Klingenthal. 1795-1836. Broad and flat Stradivarian modelling. Old yellow varnish with brownish tint. Tonal quality fairly sonorous. 75, 1960.
--------------------------------
Christian Friedrich Meinel
Violinmacher
Klingenthal, 1827
--------------------------------
MEINEL, CHRISTOPF
Worked at Klingenthal. Viola-da-braccio in the Museum at Cologne, primitive sound-holes, rosette, lion-head, yellow-red varnish.
----------------------------
Christoph Meinel 1672
----------------------------
MEINEL, FRIEDRICH HERMANN
Born at Markneukirchen, 1904. Entered the University at Berlin. Won high degrees for chemistry and musical sciences. Published several brochures on acoustics, quality of tone, choice of woods, and the making of varnishes. Occupied (1945), in his laboratory with construction of violins based on his scientific conclusions.
MEINEL, FRIEDRICH WILHELM
Son and pupil of Christian Friedrich (1). Born 1737. Died 1802. Worked at Markneukirchen. Modelling quite similar to that of fathers work. Workmanship not particularly refined. Yellow-brown varnish rather effective. Tonal quality apt to be tubby. 50, 1960.
----------------------------------
Friedrich Wilhelm Meinel
erfunden von Jacob Steiner
1758
----------------------------------
Branded Meinel with crown.
MEINEL, FRITZ
Born 1885. Pupil of Nrnberger. Worked at Markneukirchen, 1918. Most estimable bows which have achieved great popularity. Stamped with name.
MEINEL, GEORG CARL FRIEDRICH
Born 1775. Died 1847. Worked at Markneukirchen. He does not appear to have been greatly impressed with turning out much in the way of refinement. Various details in arching, etc. plainly evince how ill-at-ease he was. Scroll and sound-holes also too much of an ordeal for him to satisfactorily accomplish. Choice of wood equally unhappy.
MEINEL, GEORG CHRISTOPF
Worked at Zweibrdergrund, 1760-1770. Rather graceful outline and arching. Achieved success in the treatment of the scroll, purfling, and sound-holes. Brown varnish of fair texture.
-----------------------------
Georg Christopf Meinel
Zweyenbrdergrund
-----------------------------
----------------------------------------
Georg Christoph Meinel
Violin et Instrumentenmacher
zu Zweyenbrdergrund. Ao. 17-
----------------------------------------
MEINEL. GUSTAV
Worked in London and Dublin, 1908-1914.
MEINEL, HERMANN
Born at Klingenthal. 1831. Died 1898. Produced cheap commercial violins which have little merit even for that class of merchandise.
MEINEL, JOHANN CHRISTOPH
Worked at Klingenthal. 1786. Talent not always ready to answer the demands made upon it. Outline and arching altogether unprepossessing. Generally unflamed wood of poor quality. Branded *I.*C. Meinel.
MEINEL, JOHANN FRIEDRICH
Worked at Klingenthal. Outline and arching skilfully Worked. Skill of hand, shown in the sound-holes and purfling. Scroll well designed and posed. Interior work carefully attended to.
-----------------------------------
Mstr Johan Friedrich Meinel
in Klingenthal 1834
-----------------------------------
(written)
MEINEL, JOHANN MICHAEL
Worked at Klingenthal, 1760-1782. Had few qualifications to be a really artistic delineator of much that he attempted. Assisted by brother Johann Gottlieb.
MEINEL, JOHANN KURT
Born 1907. Worked at Markneukirchen, 1938. Cremonese modelling, impeccable workmanship, attractive varnish.
-------------------------
J. Kurt Meinel
Geigenbaumeister
Markneukirchen Sa.
-------------------------
MEINEL, LOUIS MORITZ
Born 1865. Worked at Markneukirchen. Died 1939. Good class workmanship of various standard models.
MEINEL OTTO
Bow maker at Bad Brambach (Saxony), 1926. 12, 1960.
MEINEL, THOMAS
Worked at Klingenthal, 1712-1750. First of this name to settle in above town. Produced interesting copies of the old Italian violins. Also some of full Stainer modelling. Very good wood and excellent varnish. Sometimes imitation purfling, and quaintly carved figure-heads.
--------------------------------------
Thomas Meinel. Violin Macher
Klingenthal. Ao. 1749
--------------------------------------
Also branded T. Meinel on the back.
MEINEL, WILHELM
Worked at Klingenthal, 1790-1806. Though we may sometimes dislike certain productions from Saxony, we cannot help allowing that here there is something underlying the customary style, something having extra substratum of artistry. Outline and arching quite distinctive. Nothing commonplace about the scroll and sound-holes. Wood judiciously chosen, and covered with a reasonably good brownish-red varnish. Tonal quality not so apathetic as many of the same period, in fact it is of agreeable warmth. 90, 1960.
MEINEL, WILHELM
Bow maker at Markneukirchen, 1876-1926. Various standard models catalogued at one to three pounds. Stamped with his name. 10, 1960.
MEINEL-GRNWALD, PAUL
Born at Markneukirchen, 1865. Worked for Hammig at Dresden. Established at Basel (Switzerland), 1890. Violins highly appreciated, yellow to dark red shades of varnish. 95, 1960.
--------------------------------
P. Meinel, Geigenmacher
Basel. 19 . .
--------------------------------
MEINERTZEN, JAKOB
Worked at Berlin, 1690-1713. Maker to the Court. Especially good viol-da-gambas and viols, also a few violins.
-------------------------------
Jakob Meinertzen
Knigl: Hoff-Violdegam-
und Lautenmacher
in Berlin 1710
-------------------------------
MEISEL, AMAND
Born at Klingenthal, 1828. Worked at Breslau. Established at Frankestein (Silesia), 1864. Died 1893. Cremonese models, excellent trade instruments, medals at various exhibitions.
------------------------------
Amand Meisel
Frankestein i/Schl. 18 . .
------------------------------
MEISEL, CARL CHRISTIAN
Worked at Unter Klingenthal (Saxony), 1761-1772. Violins of rather commonplace conception, but nonetheless satisfactory for ordinary instruments. Varnish of a brown shade not unpleasing. Productivity rather prolific.
---------------------------------------
Carl Christian Meisel
Violin und Instrumentenmacher
in Unterklingenthal 1765
---------------------------------------
MEISEL, CARL LOUIS
Born 1847. Worked at Klingenthal from 1869. Son and pupil of Friedrich August. Made first instrument in 12th year, everything put together and completed without the assistance of his father. Studied old Italian instruments with the patience of research, and with a spirit of reverence. Died 1917. Built many excellent copies of master violins. Workmanship done by a cautious and assured hand. Varnish very freely applied. 90, 1960.
-----------------------------------
C. Louis Meisel
Streich instrumentenmacher
Klingenthal i S.
-----------------------------------
Assisted by son Oswald Carl (born 1887 - died 1935).
MEISEL, CHRISTIAN
Commercial instruments specialised by Beare & Sons, London. Stradivarian modelling. Dark reddish varnish. Suitable for elementary students and school classes. Nicely matured wood. Structurally solid.
-----------------------------------
nach
Christian Meisel
Violinmacher in Klingenthal
Anno 1924
-----------------------------------
MEISEL, CHRISTIAN FRIEDRICH
Worked at Klingenthal, 1791-1850. Modelling of small proportions, outline Guarnerian, arching Stradivarian, not opposed to mild attractiveness, but certainly not to be termed truly elegant. Sound-holes not obligatory to grace, upper and lower curves suggest the Guarnerian, but the attitude is stiffer and verges on the perpendicular. Broad corners, sharply projecting, and distinctly ugly. Belly wood of very fine grain, acoustically excellent. Flame of back and ribs so arranged that both run obliquely. Edges of belly and back raised up, and wide. Purfling sometimes careers along with pointed small wood blocks. Thin spirit varnish of yellow or clear brown shade. Guarnerian type of scroll, particularly in the management of the boss, but rather narrow and deeply cut. 70, 1960.
----------------------
Christ. Friedri
Meisel
aus
Klingenthal 1828
----------------------
(enclosed within an egg-shaped ring)
Also branded *C*F
*Meisel*
MEISEL, FRIEDRICH
Born 1874. Son and pupil of Amand. Worked at Breslau, 1894-1920. Popular trade violins, various standard models.
--------------------------------------
Friedrich Meisel Geigenmacher
in Breslau. Anno 1909
--------------------------------------
MEISEL, FRIEDRICH AUGUST
Born 1817. Worked at Klingenthal. Died 1894. Produced many violins in which nice elegance and careful workmanship gratify the eye. Varnish also here shown as an accommodating handmaid in effect. Unfortunately for his permanent reputation he was forcedly impelled into producing anything for dealers and these specimens (being of the cheapest) are often subject to the appellation disreputable.
MEISEL, FRIEDRICH WILHELM
Worked at Klingenthal, 1769-1799. Instruments not to be classed with the best standards emanating from Saxony. Outline and arching conspicuously unattractive. Waist curves unreservedly inartistic. Long sound-holes equally distraught. Varnish appallingly dull. Everything utterly un-Italian, though he, with unblushing effrontery attempted to deceive the credulous public by means of ludicrous and nonsensical Latin that he worked at Cremona.
------------------------------------
Friedrich Wilhelm Meisel
Sitatuari Cremonalis baviebar
Ao 1770
------------------------------------
MEISEL, JOHANN CHRISTOPH
Worked at Klingenthal, 1770-1805.
----------------------------
Jahan Christopf Meisel
Klingenthal
----------------------------
(two flowers on the right)
MEISEL, JOHANN GEORG
Worked at Klingenthal, 1745-1790. Wandered to italy, and returned fully impressed with the Cremona models being superior to any other. Stradivarian outline with flat and medium arching. Some instruments have the principal traits of the Guadagnini minutely imitated. Workmanship not always justified in being termed neat. Excellent wood, often one-piece backs, also one-piece breasts. Yellow shade of varnish occasionally, but mostly light brown, also red-brown, sometimes fairly clear, but other times rather muddy. Tonal quality of ordinary standard, neither especially bright or sweet. 80, 1960.
-----------------------------------
Johann Georg Meisel
Violinmacher in Khingenthal
-----------------------------------
(not dated)
MEISEL, JOHANN KURT
Born 1907. Worked at Markneukirchen, 1938. Cremonese modelling, impeccable workmanship, attractive varnish.
--------------------------
J. Kurt Meisel
Geigenbaumeister
Markneukirchen. Sa.
--------------------------
MEISEL, KURT OSWALD
Born at Klingenthal, 1903. Son and pupil of Oswald Carl. Worked at The Hague and Hamburg, finally (1947) for Hess, at birthplace.
MEISNER, JOHANN FRIEDRICH
Born 1700. Worked at Lbeck (Germany). Died 1770. Violinist and flautist, also music councillor in his district. Manifest transcripts of the concurrent lines of Saxonian characteristics. Design and workmanship evidence sufficient ground that his knowledge was derived from a very good source. Dark brown varnish. Fairly good tonal quality but occasionally a trifle too shrill to be wholly pleasant. Instruments date from 1740.
-----------------------------------
Johann Friedrich Meisner
in Lbeck gemacht Ao 1760
-----------------------------------
MEISS, J. H.
Worked at Mansbach (Thuringia), 1830-1861. Three-stringed double-bass preserved in the Bach Museum at Eisenach.
---------------------------------------------
Johann Heinrich Meiss Instrumenten
Macher in Mansbach 1856
---------------------------------------------
MEITZEL, H.
Worked at Klingenthal, 1830-1850. Good designs, fair workmanship exteriorally, careless interiorally, well posed scroll, anaemic yellow varnish.
---------------------
Hugo Meitzel
Klingenthal 1844
---------------------
MELCHER, PAUL
Violinist. Worked at Rossendaal (Holland). Emigrated to Rio da Janeiro.
MELEANDRI, ADOLFO
Worked at Viareggio, 1935; and at Pisa, 1940. Expert copies of Cremonese models.
MELETTI, LUIGI
Worked at Ferrara (Italy), 1820-1850. Pupil of Marconcini. Good conceptions in design, well clothed with rather rich varnish. Name sometimes given as Metelli.
MELLEGARI, ENRICO CLODOVIC
Worked at Turin 1845-1888. Associated with brothers Michele and Pietro. Violins to command the attention of aspiring scholars, and worthy to be thoroughly scrutinised by critical connoisseurs. Tonal quality presents a verdant field of resonance and purity. Design not of especial originality, but certainly of very sound principles. Workmanship classically finished. Red-brown and yellow shades of varnish sometimes backs of lighter tint than the fronts. Scroll, sound-holes and purfling splendidly correct. Whatever be the issue of controversy regarding the merits of modern Italian instruments, we can in common justice say no less than that these specimens reflect considerable honour on the age and place in which they were produced. Also cellos with the above traits fully exemplified. 175, 1960.
----------------------------------------
Fratelli Mellegari
fecero in Torino nell anno 1874
via Belfiori. No 20
----------------------------------------
MELLEGARI, MICHELE and PIETRO
Worked at Turin, 1855-1893. Workmanship less refined than that of their brother. Productions generally catalogued at 15. Same label as preceding. 90, 1960.
MELLIN
Worked in London. Typical English style of the period anterior to Duke.
MELLING
Worked at Paris, 1740-1780. Shop sign - A Ia belle Vielleuse. Castagneri-like violins of really elegant model, not surpassed by any other of the same period. Nice variations effected by a moderately transparent yellow varnish. Cellos, generally of small proportions, worthy of the attention of quartet players. Head, often as graceful as the neck of a swan, adorned with the Louis XV shell, having also a charmingly decorative boss. Also produced many guitars embellished with arabesques.
---------------------------------------------
Fait par Melling
luthier rue Saint-Thomas-du-Louvre
Paris, 1745
---------------------------------------------
Worked in the rue des Orties, 1771.
MELLINI, GIOVANNI
Worked at Guastalla (Italy), 1768.
MELLON, H. E.
Amateur. Resident at Redruth (Cornwall), 1924.
MELLSTRM, ERIK ANTON
Born 1886. Amateur at Tumba (Sweden), 1945. Violins of good design and commendable workmanship. Written label.
MLON, G.
Established at Paris 1927. Hand-made violins and banjos.
MELONI, ANTONIO
Worked at Milan, 1670-1698. Amatese outline with nicely graduated medium arching, generally of proportions under normal full size. Sound-holes without a mischievous tendency to perpendicularity. Scroll not exposed to any unwary handwork, and rather prettily small. Wood completely satisfactory acoustically, and in flame. Yellow varnish applied with a thorough acquaintance of the art. Tonal quality not phenomenal in sonority, but of charming clarity. 125, 1960.
---------------------------------
Antonius Meloni Mediolani
fecit A.D. 1690
---------------------------------
MELZL, JOHANN GEORG
Worked at Straubing (Bavaria), 1830-1843. Born and trained at Munich. Stradivarian modelling not characterised by superfine workmanship. Reddish-brown varnish slightly in advance of the customary Bavarian. Belly wood of medium grain, and two-piece backs of pretty material. Tonal quality of moderate strength and warmth. Cellos of similar modelling and varnish.
----------------------------------
Georg Melz
Saiten-Instrumentenmacher
in Straubing, 1842
----------------------------------
------------------------------------
Joh. Georg Melzl
Guitarren und Geigenmacher
in Straubing, 1831
------------------------------------
MENDENHALL, H.
Resident at Salt Lake City (Utah), 1920.
MENEGHESSO, PIETRO
Worked at Padua. Died at an advanced age during the war. Ordinary type of instruments.
MENEGUZZI, CARLO
Resident at Padua, 1884. Violins and cellos.
MENER, C.
Worked at Danzig, 1656-1690. Splendid viols, sometimes decorated, also ingeniously made pocket fiddles.
---------------------
Christoph Mener
in Dantzig, 1672
---------------------
MENETTE, JOSEPH
Worked at Innsbruck (Tyrol), 1690-1705. Perfect harmony subsisting between the outline and high arching. Modelling of rather small proportions, and (of its particular type), singularly pretty. Proportions beautifully balanced. Workmanship (inside and outside) quite neat. Happy results in scroll design. Effective deep shade of brown varnish (almost Italian-like). Frequently one-piece backs of striking figure. Tone of nice sonority, freely accepting any stroke of the bow whether delicate or vigorous. 30, 1928. 95, 1960.
---------------------------------------
Joseph Menette, Geigenmacher
in Inspruck, 1698
---------------------------------------
---------------------------
Iofeph Menette
Infpruck, Anno 1690
---------------------------
Some post-dated 100 years.
MENICHETTI, LUIGI
Resident at Faenza (Italy), 1851. Addressed himself with blind and fanatical zeal to the inventing of a violin with a brass belly and other parts of wood, called Violino ligneometallico. Its principal aim seems to have been for general use in military bands, and as such, was received with ignorant credulity at first, but soon found its rightful place in total oblivion after a few months trial. Powerfully metallic and harsh tone, each string seeming to have no relationship to the others, and therefore could only be dubbed abominably diverse.
MENIGHETTI, MARTINO
Amateur. Work little known.
MENNGAND, CHARLES
Born at Nancy 1822. Apprenticed at Mirecourt. Worked with Rambeaux at Paris, 1840-1845, and with Maucotel, 1851. Established at Amsterdam 1852. Settled in Paris 1857. Died at Villers-Cotterets 1885. Medallist at various French exhibitions. Produced many violins, violas, and cellos, principally during his residence in Holland. After returning to Paris his activities were so taken up with repairing (at which he won premier place), that his creative work seldom appeared and then generally in the form of cellos, which are today particularly estimated and valued at 80. The critical and judicious labour of this eminent maker deserves universal admiration Modelling, notwithstanding the diversity (though he had a preference for the Stradivarian), agrees with respect to that which constitutes the proper essence of design as revealed by the Cremonese. Though having the temerity of making slight variations so that he could not be accused of merely copying, he was not fanatically ambitious to dictate unto himself any originalities that opposed orthodox methods. Neither did he indulge in any chemical propensity, and thus invalidate the integrity of structural laws. Tonal quality establishing the real desideratum in bright sonority. 30, 1925. 85, 1960.
---------------------------------
Menngand
Luthier, 26 rue de Trvise
Paris, 1867
---------------------------------
----------------------------
C. Menngand, luthier
26, rue de Trvise
Paris, 1877
----------------------------
Autographed C. Menngand. Some labels state he was a pupil of Rambeaux.
MENNESSON, EMILE
Born st Rheims 1842. Died there 1920. Worked in several ateliers at Paris. Established extensive premises at Mirecourt, 1876-1881. Associated with Martin and Joseph Guarini some years previously, ultimately purchased the trade-marks of that firm, and henceforth built his instruments under the pseudonym of Joseph Guarini. Produced nearly 3,000 of these superior commercial instruments, and, for many years, their popularity out-distanced all competitors. Recipient of gold medals and diplomas dhonneur at European and American exhibitions. Modelling especially adhering to the Messie Strad. Early specimens with red varnish, later productions with yellow-red on amber ground. 20. Reputed to have been indefatigable in varnish experimenting. 65, 1960.
----------------------------------------------------------
E. M. Joseph Guarini fecit (A)
Anno 1881. No. 1565.
Emile Mennesson, Reins (Marne)
Seul concessionare pour le France et lEtranger
dpos.
----------------------------------------------------------
-------------------------------------------------------
Emile Mennesson, dit Guarini.
E.M. Luthier. A Sainte Cecile Reims
2 Mdailles dor dcoration de lOrdre Royal
du Christ de Portugal.
Anne 1886. No. 1903
-------------------------------------------------------
Later labels have 3 instead of 2 mdailles, and is added after Portugal: Reims, Diplme dhonneur, 1889. Business carried on by his son Jean, since 1919, and by grandson Raymond, 1926. A report in praise of the violins of Emile was issued at Rheims, 1876, by L. S. Fanart (member of local Academy of Arts, secretary of the Scientific Congress of France, and member of Art Societies in Italy, etc.)
MENSLAGEN, GERRIT
Worked at Amsterdam from 1645. Died Amsterdam 1670. Known chiefly as a cythermaecker. Balfoort has seen a notarial document dated 1670 stating he left 70 violins partly unfinished. Jan Boumeester was his brother-in-law, and it is assumed that he finished many of them and labelled them with his name.
MENTICASIAE
Worked at Milan. Indubitably a fabricated name.
--------------------------------------
Da me Menticasiae Restauravit
in Mediolani, 1813
--------------------------------------
MENTIPLY, ANDREW
Born 1858. Amateur. Lived at Ladybank. Employed by the North British Railways. Produced 60 violins, some Stradivarian, others of an entirely original model, long and broad, sound-holes especially long and wide, workmanship not greatly adroit, splendid woods oil varnish prepared by himself. Loud tonal quality appealing to Scottish dance-players. Also made about 25 bows.
--------------------------
Andrew A. Mentiply
Ladyband. Fife.
7/2/99
-------------------------
(written)
MENTOR
Silver mounted bows seen stamped with this name.
MENZIES, JOHN
Worked at Falkirk (Scotland), 1820-1834. Stradivarian modelling of rather large dimensions, deviating however from the grace of that model by an alteration in the sound-holes. Workmanship not consistently calculated to meet the absolute approval of connoisseurs. Ribs conspicuously deep. Some specimens have neat purfling on the front but none on the back, others have the back treated to this decoration whilst the front remains plain. Dark brown oil varnish. Wood frequently of indifferent quality, also sometimes chemicalised and now often a happy hunting ground for the injurious little worm. Tonal quality certainly rather mellow, but will gradually become enfeebled in sonority.
-----------------
John Menzies
Maker. 1831
-----------------
(written)
MENZINGER, GUSTAV
Born 1867. Established at Frankfort-on-Main, 1903-1925. Studied and worked at Linz, Berlin, Vienna, Munich, Warsaw, Schwerin and Hamburg. Assisted by son Erich. Instruments illustrating the best conception of design. Every point of workmanship delightfully flawless. Varnish applied by a master hand.
-----------------------------------------
Gustav Menzinger Frankfurt a.M.
Anno 1910 No. 56
-----------------------------------------
(two circles with initials and a cross)
MEPHAM, WILLIAM EDWARD
Born at Arlington (U.S.A.), 1875. English ancestry. Took up violin repairing as a relief from the mercantile business in which he was strenuously engaged until 30th year. Produced several instruments entirely as a hobby, 1906-1915. Decided to turn professional, 1915; worked with Luther Hedges, 1915-1924; and employed by the Burdwise Company at Baltimore (Maryland), 1925. First instrument dated 1906, built on Stradivarian lines and according to the rules given in Heron Allens book. All subsequent specimens exclusively Guarnerian. Workmanship naturally progressive as experience was gained with use of tools, etc., and examples dating from 1924 are treated to craftsmanship of the finest order. Each production sold as soon as completed and he has the satisfaction of practical appreciation from leading orchestral players and amateurs. Entered a violin contest at Baltimore, 1923, and his specially prepared instrument beat all the others, including a fine A. & H. Amati. Never indulged in any often suicidal theories of new methods of thicknessing, etc., but believed the ideal measurements to belong to Guarnerius, and if these graduations are followed out with absolute exactitude (combined with the prime requisite of finely seasoned and not too old woods), a clear, soothing, yet bell-like tonal quality must ensue. Instruments numbered 1 to 22 varnished in shades of red and yellow, 23 and onwards with a brownish red formulated according to his novel way of gums cut in oil, truly a most beautifulfy soft and velvety preparation. Scrolls generally excellent transcripts of the Guarnerian but with the boss slightly more extended in Bergonzi-like fashion, thus imparting a noble and distinctive character, circles running so splendidly round as though drawn with a compass. Edges of first period instruments rather flat, but later specimens artistically rolled. Whole contour bold without heaviness. Experimented with old poplar wood and bass wood (American Linden tree). Tonal result said to be delightful.
-----------------------------------
Made by
William E. Mepham W.E.M.
Baltimore. Md.
No. 19-
----------------------------------
(yellow paper)
Repair work signed M.
Also a capable violinist and leader of the Clifton orchestra for four years.
MERCATI, DOMENICO
Born 1894. Worked at Tortona (Italy). Commendable instruments, golden red varnish.
MERCIER, A.
Worked at Mirecourt, 1860-1882. Adopted the usual practice of giving Paris as the place of production. Well made instruments somewhat similar to the Derazey style. Yellowish brown red varnish of the customary order. 12.
Branded (where label is usually placed) A. Mercier Paris.
MERCIER, PAUL
Born 1637. Worked at Nantes. Died 1692.
MERCIOLLE, JULES
Born at Mirecourt, 1881. Pupil of Grillon. Perfected his art with G. Bernardel at Paris, 1899, and with Caressa and Franois. Established own premises, 1911. Modelling inspired by the Stradivarian and Guarnerian. Absolutely faithful reproductions enhanced by irreproachable workmanship. Formulated a marvellous red varnish after long and patient researches, which possesses brilliant transparency and warm suppleness and apparently dissolved with the smallest recourse to chemicals. Tonal quality of very bright sonority and an engaging freedom from newness. Violas and cellos structurally perfect. Also built pupils violins which have the guarantee of being made entirely by hand.
-------------------------------------------------
Jules Merciolle
Luthier Paris. 3 rue des Petits-Ecuries
Anne 19- No. -
------------------------------------------------
(prominent monogram on the right)
MERCOLINI, PIETRO (called VINIE)
Born 1821. Agriculturist. Studied with Maurizi. Resident at various towns. Died at Civitella (Teramo), 1891. Good amateur workmanship, reddish brown varnish of excellent texture and a very responsive tone.
-----------------------------------
Pietro Merconlini
fece in Ancarono Anno 1865
-----------------------------------
------------------------------------
Pietro Mercolini
fece in Controguerra nel 1852
------------------------------------
MEREDITH, L.
Worked in London, 1720-1750. Large proportioned instruments with certain characteristics of the Maggini in outline. But the ribs deviate from the prototype by being deeper and less harmonious to the length of body. Brown varnish of rather thick constituency. Tonal quality somewhat viola-like and not particularly satisfactory.
----------------------------
L. Meredith
St. Pauls Churchyard
London 1734
----------------------------
MEREGHETTI, GIUSEPPE
Born at Trecati (Novarra), 1894. Orchestral violinist. Made first instrument, 1947. Guarnerian modelling quite praiseworthy. Oil or spirit varnish, golden yellow or dark red.
MERIEL
Resident at Caen (Brittany), 1880-1905. Instruments (possibly at Mirecourt) branded Meriel Caen within an oval.
MERIGHI, ANTONIO
Worked at Milan, 1800-1830. Somewhat reminiscent of the Joseph Rocca style. Gleaming red varnish. 20 (1925). In awarding praise to which the design and tone have unquestionable claim, we cannot truthfully give equal approbation to the workmanship which, in certain places is not to be commended for fine finish.
MERIGHI, PIETRO
Worked at Parma, 1769-1794. Called Leoni. Fairly well made, dark red varnish.
-------------------------------------
Pietro Merighi, detto de Leoni
Fece in Parma lAnno 1794
-------------------------------------
MRIOTTE, CHARLES
Worked at Lyons, 1740-1780. Trained at Mirecourt and worked two years at Paris previous to settling at Lyons. Sober and temperate modelling on Stradivarian lines which would spontaneously commend itself but for a slight taint of the commonplace frequently associated with the Mirecourtian style of that early period. Sound-holes not completely avoiding inartistic elements of being too straight and too pointed. Sometimes these ate not accurately placed, thus causing the bridge not to be placed opposite the notches. Scroll not restricted in robustness and sometimes a reduction in physicality would have better suited the contour of those instruments to which he occasionally gave a lighter and more feminine character. He had a profound knowledge of thicknessing. All other inside details punctiliously attended to. Purfling also comparatively without blemish. Belly wood often of very fine grain. Yellow, yellow brown or yellow red shades of thin varnish. Edges and corners appearing slightly prominent through being subjected to a darker tinge than the rest of the instrument. Tonal quality mildly responsive in sustained playing, but dull in rapid passages as well as weak in the high positions. Instruments considerably vary in quality. Specimens dated from 1770 usually catalogued at 25 to 40, earlier examples generally at 18.
---------------------------------------------------
Carolus Mriotte, ab extremo Pontis faxei
Juxta Forum - Argentarium fecit
Lugduni anno 1750.
---------------------------------------------------
------------------------------------
Mvriotte luthier, sur le Pont,
prs le change, Lyon, 1756
------------------------------------
MERK, JOSEF
Born at Mittenwald, 1892. Studied at the violin making school, 1906-1910. Pupil of Sprenger at Frankfort. Established at birthplace, 1919. Artist violins, violas and cellos. Also lutes and guitars. Known as the violin builder of Mittenwald, 1926.
MERKEL, ANTON CARL
Worked at Adorf (Saxony), 1820. Unmistakeably in the well known style of country. Amatese modelling slightly vulgarised. Good wood, fair workmanship and small tone. 10.
MERKEL, J. F.
Worked at Stuttgart, 1800-1809. Bastard lute (guitar shape) preserved at the Bach Museum, Eisenach.
--------------------------------------------
Johan Friedrich Merkel
Mechanicus & Instrumentenmacher
in Stutgard
Den 15 Januar 1803
No. 57
--------------------------------------------
MERLIN, JOSEPH
Worked in London, 1770-1783. Achieved celebrity by playing a violin of his own make on wheel skates at one of Mrs. Cornerlys Masquerades at Carlisle House, Soho Square, and impelled himself against a mirror valued at 500, dashed it to atoms, broke his instrument to pieces and wounded himself most severely. Followed the high modelling of Stainer, but with the very full arching nicely graduated and balanced. Instruments enjoying great vogue in fashionable circles of his day. Tyrolean type of sound-holes, short and squat looking. Sometimes assigned an original character to the scroll. Light brown varnish of a velvety suppleness, but also occasionally more like a dirty yellow of inferior quality. Wood well chosen. Workmanship completely satisfactory. Tonal quality small but not especially sweet or warm. Body length, 14.1/16 inches; upper bouts, 6-1/2; lower, 8.1/16; ribs, 1-1/4; top and bottom.
----------------------------------------
Josephus Merlin
Cremonae Emulus
No. 106 Londini 1778
Improved
Queen Ann, No. 66, Street East
Portland Chapel
----------------------------------------
MERLING, PAULI
Born 1894. Worked at Dresden and Oslo. Established at Copenhagen 1921. Won first prize with a medal and four diplomas of honour at The Hague, 1949. Splendid Cremonese and other models, beautifully shaded varnish applied in the French style, golden-red or reddish-brown.
---------------------
Pauli Merling
Violinbygger
Kobenhavn 19. .
---------------------
Also branded Pauli Merling.
MERLONI, P.
Worked at Ascoli (Italy), 1790-1825. Violins scarcely known outside his own country.
-------------------------------------
Pasquali Merloni, Ascoli 1818
-------------------------------------
MERMILLOT, MAURICE
Born in Haute-Savoie (France), 1835. Pupil of Gaillard and J. B. Vuillaume. Went to Piedmont on military service. Worked for Guadagnini at Turin. Established at Paris, 1876. Died at Mirecourt, 1901. Well conceived and sensibly executed outline. Flawlessly worked sound-holes. Scroll of splendid design. Tone falls rather short of the usual French standard. Handsome wood, and liberally supplied. 20 (1925).
--------------------------
M. Mermillot Luthier
18 rue Moret 1898
Paris
--------------------------
Autograph in left-hand corner.
MERMINA
French trade instruments, 1920. Excellent appearance and tone, pretty varnish. 3 to 10.
MEROSI, ANTONIO
Worked at Rome, 1899. Few instruments seen.
MEROSI, GIUSEPPE
Worked at Firenzuola (Italy), 1830-1846. Interesting modelling of rather small proportions. Workmanship not wholly without a few slight over-sights in refinement. Scroll well-cut but unhappily too large to harmonise with the other parts. Golden-yellow varnish.
MERRILL, A. H.
Born at Elgin (Illinois), 1853. French-English ancestry. Nineteen years passed, clustered with the ups and downs usual to human existence and growth until 1872. Attractions of violin music then led him to purchase a Hopf - one of those monstrosities with a tone picked before it was ripe. Had six lessons from a teacher whose chief recommendation seems to have been that he frequently partook of the cup that cheers but inebriates. Forsook the path that leads the favoured few to virtuosity, and began to enquire what makes a violin tone. Dissected his Hopf, (as did the boy who wished to know what caused the wheels of his watch to go round), but found no immediate answer. Consulted such authorities as Helmholz and Tyndall on sound and the laws of acoustics, etc.; and soon conceived that the reason why there are so few master-makers among the moderns, is principally because most of them take up the trade, placing themselves voluntarily (or perhaps compelled by financial circumstances) in the same relation to the art of violin-making that the house painter bears to the portrait artist. Experimented for nearly 20 years, allowed psychology to govern his studies, put his soul into the work, patiently struggled with the varied structural measurements. and became entangled in the many formulas of varnish and varnishing. Made, in the meantime, quite a good number of ordinarily well constructed instruments under the tuition of Macklett and Braymer at Chicago, repaired and sold through a music store where he had set up his bench, many old violins purchased from various pawnshops. The more he studied and experimented, the more he loved the work, and, regardless of the business he followed for a livelihood (that of expert Railroad Accountant), managed to repair a dozen fiddles every week, and produce a new one nearly every month. Experiments taught him that there was one certain part of each violin that invariably had a special influence on each individual note of the scale, and by the use of this knowledge he could correct any uneven tones. Tried the copying of Strads, Amatis, and Guarneri according to published specifications, but never succeeded in equalling or even approximating them, neither did the tone he was seeking for ever materialise. Dabbled with the constructive mathematical specifications of Bagatella, found good results, but not good enough for contentment. Then he had recourse to experimenting along original lines, and the many patches observable on some of his instruments of this period, bear witness to the fact that he was ever-trying for an outline which would best express his individuality in tone production.
Ultimately had a genuine Guarnerius which he anatomised and measured, and therein found where certain thicknesses should never be deviated from. This agreed with his pre-conceived notions, and resulted in the creation of a Guarneri-Maggini outline and arching, which, through his system of graduation, brought along the tone designated by many connoisseurs as the true Italian, not the brilliancy of the Stradivari, but a deep, sonorous and warm contralto quality, each string being perfectly homogeneous to the other. Instruments highly praised by professionals and amateurs. Belly wood always of very broad grain, which, by his special theoretical treatment increases the tone twenty-five per cent. Furthermore, the largest part of the breast varies between 24 and 27 centimetres. Majority of instruments made from Oregon woods. Prepared own varnish, one composed of fused amber, linseed oil, and turpentine, which is delightfully elastic, coloured in the making, but not by the addition of other colouring material. Never applied amber varnish to the naked wood. Wood first coated with a heavy gamboge solution in alcohol, this evaporates very quickly, and after two days the oil varnish was applied entirely with the fingers, and has appearance of Italian velvety smoothness. Many of his instruments from time to time have been pitted against fabulously priced Cremonas, and they have passed through the ordeal in the most triumphant fashion. Opened a studio at Atlanta (Georgia), 1893, and for 12 years recognised as the most expert restorer south of the Ohio river. Precarious health then forced a change and several years were spent in comparative retirement. Re-established himself at Portland (Oregon), 1915, and up to the year 1924 had the wonderful record of repairing 10,000 instruments. Used the appellation Violin Surgeon at his studio in the Washington Building. Coat-of-arms bears the motto Vincit qui Partitur. New violins priced at 250 dollars. Regarded violin making as an art, and only thus can instruments of superlative merit be created. Firm believer in using plenty of wood, and persistently execrated those makers who try to scrape the tone into a violin. Label usually written on the wood. Inventor of the Chardola, 1895 - strung and played like a guitar.
MERZ, AUGUST
Born 1851. Son and pupil of Christian. Established at Altenburg (Thuringia), 1877. Died 1910. Repairer, etc. to the Court. Stradivarian and Giarnerian modelling. Oil varnish of own preparation. Made several innovations in positioning the bass-bar.
------------------------------
Aug. Merz
Hofinstrumentenmacher
Altenburg S.-A. 18. .
------------------------------
MERZ, JOHANN CHRISTOPF
Worked at Klingenthal (Saxony). Ordinary medium arched modelling bearing marks of haste or ineptitude both in conception and execution. Small scroll creating slight effect. Graceful sound-holes. Artificial purfling. Dark brown varnish not of happy shade.
---------------------------------
Johann Christoph Merz
in Klingenthal bei Adorf in
Voightlande. Anno 1800
---------------------------------
MERZ, OTTO
Modern trade bows, made at Vienna. Vuillaume model, brazil wood, white whalebone lapping. Stamped Otto Merz. Wien.
MESCHINI, PAOLO GIORGIO
Worked at Brescia, 1667. Probably pupil of Mariani. Instruments of quaint design. Sound-holes, with perpendicular stem, have the peculiarity of seeming upside down, the larger swing being at the top and the smaller at the bottom.
MESSINA, ALFIO
Born at Aderno, 1889. Worked at Catania, 1920-1950. Stradivarian modelling, deck edges slightly turned up, dark golden-yellow varnish, appreciative tone.
----------------------------------------
J.M.J.
Alphius Messina ab-Hadrano
faciebat Catanae anno Dni. 1921
----------------------------------------
(with signature)
Branded A.M.H. also A.M.H. C within a black circle. J.M.J. - initials of a Saint.
MESSING, FREDERICK JAMES
Born 1755. Violinist in the orchestra of Theatre Royal, Covent Garden, London. Forsook this position to parade the metropolis, garbed in a black suit with a star, and his hair close-shaven. Became quite a character, and was frequently termed the Mad Fiddler. Generally called himself a son of Handel, whose monument he visited daily, and whose melodies he performed in the different public-houses he played at. Died in poor circumstances at his lodging in Tottenham Court Road, 1798. Picked up any dilapidated nondescript fiddles, repaired them satisfactorily (according to his ideas), hawked them around and sold them cheaply, after putting in a written label.
-----------------------------
Made by F. J. Messing
London, 1787
----------------------------
MESSORI, PIETRO
Born 1870. Established at Modena (Italy), 1925. Talented maker and thoroughly conversant with the highest elements of design. Copyist of the Stradivari, Guarneri, and Amati models. Everything of logical exactness, and workmanship well in advance of the average standard. Red, reddish-yellow, and golden shades of a succinous amber varnish. Tonal quality without limitations either in power or warm sonority.
---------------------
Pietro Messori
Modena
fatto lanno 19. .
---------------------
MESZAROS, STEFAN
Worked at Kolzsvar (Hungary), 1880-1915. Good workmanship and tone.
METELKA, JOSEF (1)
Born 1842. Worked at Pasek-on-Iser (Bohemia). Son of Venceslav. Died 1880. Gained experience in the workshops of Schweitzer at Budapest, and Zach at Vienna. Productivity not at all commensurate with his undoubted gifts. Seemingly more diligent in repairing than ambitious in creating. Cleverly assisted by his daughter, Johanna. Violins which reach a high standard of classical design, mathematical exactitude, and adequate tonal quality for the soloist.
------------------------------------------------
Josef syn Venceslava Metelky
Opravil v Pasekch pod Krkonosi 18. .
------------------------------------------------
(with design of medals)
Opravil sometimes omitted.
METELKA, JOSEF (2)
Son and pupil of preceding. Worked at Glasersdorf-on-Iser (Sklenrice in Bohemia), 1880-1908. No former period of Bohemian violin-making industry can boast of a maker more assiduously faithful in adhering to elegance of outline and arching, or more fruitful in products of tonal strength and beauty. All structural details organised and brought together with the sole purpose of creating something for future grandeur. Not the tiniest deficiency or blemish in workmanship, wood, varnish, or tone. Violas, cellos and double basses similarly stimulating.
----------------------------------------------
Josef Metelka
hotovitel snuyce nstroju Sklenricich
u Vysokho n. Jizerou
Opravil dne l zri 1892
----------------------------------------------
METELKA, VENCESLAV
Born at Pasek, 1810. Died 1868. Conscientious worker, always using the best Woods. Very nice varnish.
-----------------------------
Zhoto vena
od Venceslava Metelky
v Pasekach
nad Izerou
-----------------------------
METHFESSEL, GUSTAVE
Born 1859. Worked at Vienna. Established at Berne (Switzerland), 1864; and later at Hilterfingen nearby. Died 1910. Splendid models after the old masters. Oil varnish suitably accommodated to faithfully represent each particular model.
-------------------------------
Gustave Methfessel fecit
Bernae Anno 18. .
-------------------------------
(slight decorative border)
METTAL, IGNAZ
Born 1869. Son and pupil of Johann. Established his own premises at Schnbach, 1896. Recipient of medals at Vienna and other cities, 1926. Assisted by four sons. Produced bowed instruments of various grades, but specialised in guitars, mandolines, balalaikas and domras. Inventor of a Tone Guitar of unique modelling.
METTE, FRANOIS
Worked at Mirecourt. Received medal at Paris Exhibition, 1855.
METZGER, JOSEPH
Worked at Raab (Hungary), 1905; and at Gyr, 1918-1936. Very good workmanship.
METZNER-LEBLANC, A.
Establishment at Angers, 1890-1920.
-------------------------
A. Metzner-Leblanc
Place du Ralliement
Angers
-------------------------
METZNER, E. E.
Member of theatre orchestra at Riga, 1858-1869. Esteemed as a good repairer.
----------------------------
Ernst Emil Metzner
Musikus in Riga, 1861
----------------------------
MEUNIER
Worked at Lige, 1740-1763. Amateurish modelling, dative woods, sometimes without purfling, thin lemon yellow varnish, shrill tone. Also one cello known with a four piece back.
-------------------
Meunier luthier
Lige, 1750
-------------------
MEUROT, L.
Splendid trade violins (priced at 4, 1925) emanating from a Mirecourt factory. Couturieux model, two piece backs of curly maple, golden amber oil varnish.
--------------------------------------
Ludovicius Meurot ab extremo
pontis patricei juxta forum
plumararium fecit Mirecurtin.
anno 1925. Meurot
--------------------------------------
(printed as though written)
MEUSLER, W.
Little known, but a violin seen with the following label -
----------------------------------
Wilhelm Meusler
brgerlicher Geigenmacher
1794
---------------------------------
MEYER, ADOLPH
Worked principally at Dresden, 1780-1798. Born at Markneukirchen. Went from town to village, and disposed of his productions at the various market fairs in Saxony. Ordinary instruments of respectable contour. Proportions of nice exactitude but workmanship just passable.
------------------
Adolf Meyer
Dresden 1787
------------------
Name sometimes branded.
MEYER, ALFRED GUSTAV
Born 1872. Worked at Markneukirchen. Died 1947. Specialised in making superior trade cellos and double basses. Assisted by son, Alfred Kurt (born 1904).
MEYER, EMIL
Born 1882. Worked at Markneukirchen, 1911; and at Adorf (Saxony), 1940. Work much esteemed.
MEYER, HEINRICH
Maker to the Carlsruhe Court, 1866-1882. Worked at Freiburg (Brisgau), 1883-1896. Instruments possibly made at Markneukirchen.
--------------------------
H. Meyer fec
Freiburg r Brg. 1887
--------------------------
MEYER, MAGNUS ANDREAS
Worked at Hamburg, 1730-1755. Viols absolutely reminiscent of, and equal to, those of Joachim Tielke. Some specimens artistically decorated with inlay. Violins of rather broad dimensions. Outline not particularly elegant in curvature. Also the disastrous infirmity of weak high arching. Yellow or yellow brown varnish. Not worth more than 10 (1924). Tonal quality hollow and feeble, lower strings weasy, higher strings cloudy. Cellos slightly superior, though having pronounced arching without nice graduation, sometimes with fanciful heads.
---------------------------
Magnus Andr. Meyer
Hamburg Ao. 1738
---------------------------
(written)
MEYER, REINHARDT
Born in Germany, 1863. Naturalised American. Established at Worcester (Mass.), 1918-1926. Professional violinist who made violins as a hobby for 30 years previous to 1918. Stradivarian modelling set forth in a clever manner. Excellent wood unspoilt by unruly varnish.
MEYN, ERNST
Born 1898. Resident at Stettin (Pommerania), 1925. First instrument built in 1922. Stradivarian and Guarnerian modelling. Thicknessing of the plates according with the special ideas of Dr. Grossmann. Oil varnish in shades of orange, brown and dark red. Grace of style regarded as of paramount importance. Structural neatness fully exemplified. Scroll and sound-holes of perfect swing. Tonal quality splendidly sonorous, clear and brilliant on the A and E strings, D string without that languid dullness so noticeable with many modern violins, and the G string not heavily charged.
----------------------------------
Ernst Meyn. Geigenmacher
fecit anno 1924. Stettin
----------------------------------
(golden border, and bearing the Stettin coat-of-arms)
MEYNELL, A. R.
Worked for fourteen years with C. Boullangier. Established in Frith Street, London, 1914.
MEYNIEU
see RESUCHE.
MEZZABOTTE, DOMENICA GIOVANNI BATTISTA
Worked at Brescia, 1720-1766. Somewhat after the Storioni style. 35 (1925).
----------------------------------------
Dominicus Jo. Bapt. Mezzabotte
Fecit Brixiae
Anno Domini 1755
----------------------------------------
MEZZADRI, ALESSANDRO
Worked at Ferrara (Italy), 1690-1734. Versatile musician, violinist, organist, and singer. Enjoyed patronage from the nobility of his district. As a violin maker he favoured the Amatese school, with a slight infusion of the Brescian. Consequently, outline and arching are not always ideally harmonised with each other. Dimensions generally on the small side but occasional specimens broader and flatter. His cup of invention was only half filled in delineating the sound-holes since they are placed too far from the ribs and the curvatures are not of free grace. Neither did he expatiate any too easily when engaged with the scroll. Whole contour lacks homogeneity and that discriminative gathering up as it were, of those subservient details which, in features, should automatically belong to the parent thought. In certain places there is a jarring sense of abruptness. Orange red and golden brown shades of varnish. Tonal quality of fine resonance but more delicately feminine than of any masculine virility. 350, 1960.
----------------------------
Alessandro Mezzadri
Fece in Ferrara lanno
1719
---------------------------
Used two labels, earlier dated having smaller letters than the later.
MEZZADRI, FRANCESCO
Worked at Milan, 1720-1750. Every detail apertaining to elegance reaches the meridian here. Perfect fluency of hand in the workmanship. Scroll, sound-holes and purfling attacked with infallible certainty. Transparent and thinnish varnish of a golden colour with a reddish tinge. Tonal quality very clear and of persuasive sweetness. One small patterned viola known, with pinkish golden varnish and a poplar wood back. 450, 1960.
-------------------------
Francesco Mezzadri
fece in Milano 1749
-------------------------
------------------------
Franciscus Mezadri
Milano anno 1712
------------------------
MICHAEL, HERMANN
Bow maker at Hohendorf (Saxony), 1925.
MICHEL, LOUIS
Bow maker at Mirecourt and Paris, 1910. Fine copies of the Peccatte and Voirin. 4 (1925).
MICHELBERGER, JNOS
Born 1886. Worked at Budapest, 1920. Died 1935. One of the best representatives of his country. Splendid designs of the Cremonese, embellished by the most refined workmanship and radiant varnish. Exhibited a viola richly emblazoned with armorial bearings connected with a noble personage.
MICHELI, GIUSEPPE
Worked at Gajato (Italy), 1865-1890.
MICHELIN
Resident at Angers, 1897. Patented a mandoline-violin, eight wire strings (really four strings, each doubled) - form of a mandoline but played with a bow.
MICHELOT, JACQUES PIERRE
Worked at the sign of A la Mlodie, 1755-1795. If we examine the internal parts of his violins we find carelessness. If we travel critically over the exterior parts we are not completely satisfied. Therefore, such imperfect offsprings of indifferent workmanship can never give forth a tone necessary to inspire a violinist to play. Dark brown varnish not felicitous in hue or application. Better known for really good guitars.
-----------------------------------------------
J. P. Michelot, rue St. Honor prs
St. Roch, a la Mlodie. Paris 1760
-----------------------------------------------
MICHETTI, PLINIO
Born 1891. Worked at Turin. Won medals at Cremona, 1949. Produced 300 violins up to year 1950. Pressenda and Guarnerian modelling without special distinction, pretty backs and good textured oil varnish, yellow and brownish yellow shades. 125, 1960.
---------------------------------
Plinio Michetti
fece in Torino lanno 1948
---------------------------------
(with signature)
----------------------
Plinio Michetti
fecit Taurini
anno 1928
Corso Lecce, 82.
---------------------
MICHONNY, M.
Worked at Avenione (Avignon, France). Flat modelling of broad proportions but of singular felicity in general contour. United by neat workmanship and transparent varnish. Pugnani exhibited his forcible playing on one of them.
-----------------------------
Michael Michonny fato
in Avenione anno 1743
-----------------------------
MICOLLIER AND ALBA
Worked at Lyons. Violins of small value. Superior guitars.
MIDDLETON, JOHN
Resident at Doven (Australia), 1890.
MIERS, AARON
Resident at Syracuse (New York), 1925. Own outline and arching with Guarnerian sound-holes. Reddish orange varnish done to imitate an old instrument; stain of analine dye applied and dissolved in turpentine and finally polished with linseed oil and shellac.
MIETHER, OTTO C. F.
Worked at Hanover, 1893, and at Brunswick, 1908-1922. Principally zithers, but also bowed instruments.
MI-FIN
Ten shilling violins of French manufacture, 1870.
MIGGE, OTTO
Born at Coblenz (Germany), 1857. Established in that town an Atelier fr Cremoneser Geigenbaukunst, 1880. Honorary member of the Art Academy, Barcelona. Worked in London, 1896, and at Eastbourne, 1908. Author of a book entitled The Secret of the celebrated Italian Violin makers, discovered and explained (Fischbacher). The deliberate views expressed therein have not been exemplified in his violins, though we recognise the excellent workmanship and the ordinary full but undeveloped tone of the modern instrument. Advertised extensively, and claimed to reproduce the Cremonese tone. Solicited and was fortunate in securing a variety of opinions in the form of testimonials from Wilhemj and other violinists that gave his popularity considerable impetus. Used various shades of varnish but preferred dark brown. Sometimes purfled ornamentation on the back. 80, 1960.
MIGHETTI, J. B.
Worked at Gorizia (near Trieste). Modelling slightly under full size, angular corners, short sound-holes, small scroll, backs of native wood with slight undulating flame, sweet tone.
------------------------
Joh. Bapt. Mighetti
Jecit Gorizia, 1764
------------------------
MIGLIORATO, G.
Worked at Naples. Ordinarily well-made, but not unworthy of a good players notice. Comparing them with many similar products from Italy, they are in several respects entitled to preference. Selection of woods could not be happier. Yellow orange shade of varnish.
--------------------------
Giovanni Migliorato
Liutaro
Fece a Napoli. Italia
-------------------------
MIGNARD, PIERRE
Worked at Troyes, 1610-1623. Pocket fiddles, and viols (some with fancifully carved heads).
------------------------------------------
Par Jean Mignard de Troyes, 16. .
------------------------------------------
MILANDRI, GALIANO
Amateur. Pupil of Fracassi. Employed in the Saw Mill Works at Macerone di Cesena, 1930. Violins highly praised by several connoisseurs.
MILANI, FRANCESCO
Worked at Milan, 1740-1760. Pupil of Lorenzo Guadagnini. Generally followed, with versatile aptitude, the smaller model of Stradivarius. Reddish golden-brown varnish, similar to that of his master. Handsome wood, tonal quality delightfully mellow. One notable specimen realised 100 (1926). Related that many of the Guadagninis were partly constructed by Milani, if so, it accounts for the scarcity of specimens labelled with the latters name. 450, 1960.
MILANI, GIUSEPPE CARLO
Worked at Milano, 1760-1780. Amatese modelling, good workmanship.
MILANKOVIC, BOGDAN
Born at Dalj (Serbia), 1885. Doctor of Philosophy at Vienna University. Propounded new theories in violin construction based on the ideas of Bagatella and Mckel. Stradivarian outline, individualistic arching and sound-holes. Also formulated a secret varnish. Claimed superior tone, etc. to that of the old Cremonese. Manuscript label on parchment - also branded Dr. B.M. on the interior.
MILANO
Made in the workshop of Carl Fischers Emporium at New York, 1928. Good grade instruments at the moderate price of 30 dollars. Material and workmanship excellent throughout. Very satisfactory tone which will improve with age. Varnish prepared with great care insuring nice transparency and pleasing tone.
------------------------
No. 120. Milano
Stradivarius Model
A.D. 19. .
------------------------
(decorative border)
MILCH, ANTON
Worked at Mayence, 1870-1881. Conscientious workmanship, and fairly nice varnish.
---------------------------------------
Ant. Milch Instrumentenmacher
Mainz 1879
---------------------------------------
MILELLA, VITO AND GIUSEPPE
Father and son. Worked at Lecce (Italy), 1855-1886.
MILES, GEORGE
Worked at Erith (London). Died 1912. First instruments built on Stainer principles. Quite amateurish. Wood not always well chosen. Some backs have a vertical grain instead of the usual horizontal flame. Straightish sound-holes. Subsequently adopted the French idea of a broad Stradivarius. Nice outcomes of experience and knowledge. Little touches of originality, characterised by modest artistry. Presence of considerable scientific spirit also evident. Good reddishyellow varnish of own preparation, and its application shows clear apprehension. Bold scrolls, and an excellent strong tone. After his death, Dykes and Sons acquired about fifty specimens, put the necessary finishing touches to them, and largely advertised at 18 each.
---------------------
George Miles
Amator
Fecit 1892 No. 3
---------------------
-----------------
George Miles
Erith 1899
-----------------
MILES, RALF
Resident at Stroud, 1929; and Forest of Dean (Glos), 1946. Strad modelling, artistic conceptions, generally one-piece backs, very transparent varnish of various shades. Received laudatory notices from Carrodus and other English violinists. Also violas and cellos similarly eulogised.
---------------------------
Ralf Miles
Royal Forest of Dean
Fecit Anno 19. .
---------------------------
MILHET
Worked at Bayonne (France) 1820-1830. Instruments showing the several obliquities of the second-class worker. Yellow-brown varnish of dark hue, indifferent texture. Enlightened devotees of tonal quality will not gain much satisfaction when exercising the bow.
MILITIELLO, GANDOLFO
Italian. Worked at Buenos Aires, 1910. Ordinary type instruments.
MILLANT, BERNARD
Born 1929. Son and pupil of Max. Also studied at Mirecourt. Worked at New York. Returned to Paris.
MILLANT, JEAN JACQUES Born 1928. Son of Roger. Studied at Mirecourt. Established at Paris, 1951. Industrious bow maker, specimens greatly esteemed by French and Belgian violinists.
MILLANT, ROGER AND MAX
Grandchildren and pupils of S. A. Deroux. Worked together at Paris, 1930. Repairers to the Franco-American Conservatoire at Fontainebleau. Roger born 1901. Max born 1903. Both worked for Dykes in London. Max spent some time with Leon Mougenot at Mirecourt. Guarnerian, Stradivarian, and Guadagnini modelling. The many instruments produced give testimony to the cultured versatility of the makers, violins, violas, and cellos. No one who values high earnest thought in workmanship, resulting in a broad, genial, and sympathetic tone will fail to add one specimen to his collection of choice examples. Red, or orange oil varnish.
--------------------------------------
Les Petits Fils de S. A. Deroux
R.M.M. Roger et Max Millant
51, Rue de Rome. Paris.
No. . . . . . Anne 19. .
--------------------------------------
-------------------------------
R & M. Millant
Luthiers dArt
51. Rue de Rome. Paris.
No. Anne 19. .
-------------------------------
Won medal at the Cremona Exhibition, 1949, for a splendidly made quartet; also gained a high award at The Hague Competition, 1949.
MILLAR, A.
Born at St. Andrews (Scotland), 1813. Hairdresser by trade. Pupil of Hardie. Died 1877. Built a good number of violins and cellos. Vuillaume-Strad model, excellent workmanship, unsatisfactory tone.
---------------------------------------
Alexander Millar Andrepolitanus
fecit 1858
---------------------------------------
MILLBACH, I.
Worked at Prague, 1805-1830. Good workmanship, excellent yellow varnish.
MILLER
Worked in London, 1730-1760. Shop sign - At the Citern. Some violins known, sometimes realising 30 in an auction sale. Signed Miller London.
MILLER, ANDREAS
Amateur. Born at Upsil, 1853. Died at Riga, 1908. Produced ten violins and two violas. Varnish of own formula.
MILLER, GEORGE
Worked in London, 1656-1675. Several six-stringed viol-da-gambas, some with lion heads.
------------------------------------------
George Miller
Bishopsgate Court, London, 1669.
------------------------------------------
MILLER, HENRI
Born 1911. Apprenticed to Collin-Mzin at Mirecourt. Worked at Poussay (Vosges), 1942.
MILLER, JOHN
Born at Evie (Orkney Island), 1861. Amateur. Forty violins, Strad model, pretty backs, reddish oil varnish.
------------------
John Miller
Dundee, 1896
------------------
MILLER, NORMAN
Born at Toowoomba, Queensland (Australia), 1911. After army service renewed profession as Commercial photographer, 1945. Self-taught violin maker after many years of study obtaining information from all available books on the subject. Commenced making in 1956 and up to the year 1959, produced nine violins and three violas. First three violins made to Guarnerius 1742 outline, following thickness contours. Thickness of top under bridge 4-1/2 mm., tapering to 2 mm. at linings; using Dr. F. Saunders method of grooving. Back, 5-1/2 to 6 mm. under bridge tapering to 2 mm. at linings. Violas made with a similar relationship. Thickness not laid down as hard and fast measurements, but very slightly with the density and elasticity of individual wood. Top plate balances across the bridge line, on edge of steel rule. Back plate balances across a line across the centre of sound post location approximately 6 mm. behind bridge line. Thicknessing of back uses this line as centre point for contours. In 1958, designed and used own outline which resembles Guarnerius but has more curve to inner bouts and is less flat in upper and bottom bouts. Top arching 1/2 in. violins, 3/4 in. violas. Back arching slightly higher. Dimensions of violins: Length, 13.15/16 inches, upper bouts 6-1/8; lower 8.5/16; waist 4.9/16; ribs 1-1/2 full to 1.7/16 full. Outline of own design. Very fine workmanship. Golden yellow-brown varnish consisting of one coat of Harris pale amber and five coats of Harris dark brown. Wood always obtained from Switzerland, top quality pine and maple. Has used a light wood extremely suitable for inner blocks, taking and glueing well. This wood is native Australian, called Quondong, and grows in North Queensland.
MILLER, SAMUEL JANSEN
Born at Dryden (New York), 1867. Gained knowledge through the careful study of Heron Allens book. Still working at Dryden, 1930. Produced first instrument 1884. Made about 200 excellent examples up to year 1930. Modelling after the Alard and Messie Strads, and Guamerius. Workmanship pre-eminently satisfactory. Orange shade to deep red-brown varnish. Has the power and youthful vitality tone of a new violin, and his instruments are highly appreciated by professional players. Colonial furniture wood for neck, ribs and back; and American pine from old buildings for table.
--------------------------------
Violin No 150
S. Jansen Miller
Dryden, N.Y.U.S.A.
Copy Alard Stradivarius
--------------------------------
with the following written - S. Jansen Miller. M.E.H.T. 1927.
MILLER, THOMAS J.
Born 1869. American-German descent. Worked at Bellingham (Washington). 1927.
MILNE, PATRICK GORDON
Born 1873. Worked at Aberdeen. Removed to Glasgow, 1920. Died 1949. Had no regular training but picked up certain ideas from his father, Peter (1835-1912), who occasionally made violins as an amateur. Built first instrument in 16th year. Produced about 70, varying considerably in merit. Early specimens follow the Guarnerius model, usually treated to a spirit varnish. Later examples vastly superior in every detail, belong more to the Stradivarian design. Workmanship scrupulously well finished. Woods of the finest quality and beauty. Oil varnish of effective transparency, light orange, reddish brown and dark red. Tonal quality often meritorious in clarity and strength. Also made violas and cellos.
------------------------------
Patrick G. Milne
Maker. Cults. Aberdeen
------------------------------
------------------------------
Patrick G. Milne
Maker
No. 51 Aberdeen 1914
------------------------------
(with thistle design on left)
Also stamped on the ribs at tailpin. Glasgow substituted for Aberdeen after 1920.
MILNE, PETER
Born 1835. Worked at Aberdeen. Died 1912. Amateur. Father of P.G. Made a few violins mostly for experimental reasons, alterations seldom proving anything. Inherited the mania from his father who also passed many leisure hours in violin construction.
MILNER, FRANK
Violinist and conductor at the Theatre Royal, Sheffield, 1924, also a talented maker and repairer. Produced several very attractive instruments, all details handled with true skill, elegant scroll. Varnishing given all the necessary painstaking care and for this alone he is entitled to the highest approbation. One specimen, designated The Flame, has a back of root sycamore, of unique appearance, the figure being largely confined to the centre from top to bottom, and plain towards the edges. Also imparted real nourishment to the tone - this having a quality not to be under rated by the most fastidious.
MILTON, LOUIS FRANK
Born at Marston, 1898. Pupil of Scholes. Resident at Bedford, 1920. Died 1947. Finely modelled violins, chiefly on Guarnerian ideas. Workmanship equal to any modern, everything accurately graduated. First-class old, seasoned wood. Orange red or red brown varnish. Tonal quality of satisfactory strength, refreshing response and unusually velvety for a new instrument.
-----------------------
Louis F. Milton.
Bedford. England.
No. . . 1924
-----------------------
Sometimes without number or date.
MINELLI, GIOVANNI
Worked at Bologna, 1805-1812. Instruments that pay slight, homage to the Italian school. Ordinary imitations of famous prototypes. 60, 1960.
MINGAZZI, LUIGI
Born at Ravenna (Italy), 1859. Self-taught. Studied the models of the Cremonese school. First instrument produced in 1897. From then up to year 1925 built 130 violins, 8 violas, 4 cellos and 3 double basses. Several have passed over to America and Australia, as well as European countries. Diplomas at Rome and other towns. Died 1933. Violins of well sustained structural arrangement, accuracy and refinement of workmanship, golden yellow varnish. Tonal quality not to be under rated as only having newness. 90, 1960.
--------------------------------
Luigi Mingazzi
fece in Ravenna anno 19-
--------------------------------
MINOT, JOSEPH
Worked at Westminster, Massachusetts, U.S.A., 1817-1828. Made about 30 bass viols.
------------------------------------------
Bass Viols made and repaired by
Joseph Minot. Westminster. Mass.
Date. Year. No.
------------------------------------------
MINOZZI, MATTEO
Worked at Bologna, 1742-1769. Skilful maker who avoided mannerisms, and was content to fashion models on the established principles of Stradivarius and Guarnerius. Nothing interferes with the perfect naturalness of the arching. Sound-holes not ungraceful but do not rise to the same heights in workmanship as other parts. Scroll in complete harmony with general structure. Medium grain wood for tops and nicely figured material for backs. Also not over sparing with the yellow brown and reddish brown varnish. Result, a sympathetic tone without a flaw, satisfactorily clear and penetrating. Did not make a large number of instruments. We have the record of 100 being given for a very splendid specimen, 450, 1960.
--------------------------
Matteo Minozzi fece
in Bologna 1757
--------------------------
(decorative border or ornamentally scrolled)
--------------------
Matteo Minozzi
f.Bon. 1769
--------------------
MINSHULL, ERNEST FREDERICK
Born at Salford, 1877. Worked 15 years with G. A. Chanot at Manchester. Resident at Leeds, 1924. Stradivarian and Guarnerian modelling. Yellow, ruby and red brown shades of varnish.
----------------------
E. F. Minshull
Violin Maker
Manchester. 1903
----------------------
Also signed inside on the back. 60, 1960.
MIQUEL, CLAUDE
Bow maker at Mirecourt, 1764.
MIQUEL, EMILE
Born 1851. Worked at Mirecourt. Died 1911. Well modelled violins obtained legitimate success extending over 30 years, details carefully wrought. Excellent varnish and a tonal quality of an unusually delicate timbre. Catalogued at 8 to 12 guineas. Also produced bows at a guinea which have considerable analogy with the standard models, quite superior to the many trade bows which frequently entrap that portion of the public easily misled by cheap prices. His son (born 1889) was his pupil and successor.
MIQUEL, JEAN CLAUDE
Bow maker at Mirecourt, 1776.
MIRAUCOURT, CLAUDE
Worked at Verdun (France), 1740-1750. Full formed violas coming from a mint of thought. Carefully finished workmanship, no residual traces of his tools appear anywhere.
-----------------------------------
Claude Miraucourt Verdun
1746
-----------------------------------
MIRAUCOURT, JOSEPH
Worked at Verdun, 1735-1750. Viols, cellos and violins. Impressive designs and tonal beauty to delight at once.
------------------------------
A Verdun par
Joseph Miraucourt 1736
------------------------------
MIRECOURIEN LE
Trade violins made at Mirecourt. Advertised under various enticing appellations but having certain good qualities at a cheap price.
MIREMONT, CLAUDE AUGUSTIN
Born at Mirecourt, 1827. Son and pupil of Sebastien. Worked for Collin Mezin at Mirecourt. Employed by Lafleur and Bernardel at Paris. Established at New York, 1852-1861. Returned to Paris. Died 1887. Remarkable accuracy of detail prevails in all his numerous instruments on no little point in workmanship can be placed the slighest condemnatory mark. Such honest distinctiveness affords pleasant reflections to dwell upon and the verdict of the future will add further approbation. Each instrument made entirely with own hands, thus showing that his mind had that interior apartment of pride in personal completeness, disdaining the customary commercial procedure of his many contemporaries in having several workmen to assist in rapid production. Modelling generally of the Stradivarian and Guarnerian but with noticeably deeper ribs. Occasionally favoured the Klotz and Gagliano forms. Orange red varnish of gratifying aspect, nice constituency, though perhaps too thinly applied. Claimed that the tonal quality was superior to any other of his day. Most people as a rule are not prone to believe in a man being his own trumpeter, for he is only succumbing to the temptation of vanity indulgence but in Miremonts case he seems to have had every justification for the outspoken and apparently conscientious opinion of his instruments, since at this day we realise that the tone is of such a carrying power and fast developing quality as not to be easily dismissed from the memory. Dealers, too, are naturally aware of this and (in 1925) were offering specimens at 50. Made more cellos than violins, many specimens highly valued for their strong yet persuasive sonority of tone. Received higbest awards at Exhibitions, Paris, London and New York. Conceived in 1867, a theory for fixing a second bar to the inside but finding that it failed to impart more tonal vitality he wisely abandoned it. 90, 1960.
----------------------------------------------------
Expositions universelles de 1853-55-62-67
quatre premiers prix.
C. A. Miremont, Brevet S.G.D.G.
Paris, an 1875
----------------------------------------------------
(also bearing his signature)
-----------------------------
C. A. Miremont fecit
Parisiis, Anno Dni 1881
-----------------------------
(with fanciful drawing of instruments, etc.)
Also good orchestral bows stamped Miremont.
MIREMONT, SEBASTIEN
Worked at Mirecourt, 1832-1854. Self originated outline and arching somewhat on Stradivarian ideas but of broader proportions and possibly a shade flatter, but not heavy looking. Strong tone but deficient in real brilliance and mellowness.
MIRO, PEDRO
Worked at Zarrega (Spain). High bellied, reddish brown varnish, head in the form of a grotesque animal.
----------------------------
Hecho por Pedro Miro
Zarrega Mayo 1888
----------------------------
MISNER, RAYMOND R.
Born 1902. Resident at Middletown (N.Y.), 1925. Stradivarian modelling, slight deviation in width of bouts. Golden-brown oil varnish. Tonal quality highly praised.
MITCHELL, GEORGE
Born in Scotland, 1823. Violinist and bagpipe player. Lost first finger of left hand, 1847. Became a violin maker. Appointed Superintendant at Castle Edzell, 1887. Died 1897. Built about 100. Early specimens of bulgy Stainer type, later ones much flatter.
--------------------
George Mitchell
Edzell, 1880
--------------------
Name written on back.
MITCHELL, JOHN
Resident at Dunfermline (Scotland), 1910.
MITCHELL, THOMAS
Born at Dundee (Scotland), 1852. Went to Canada, fought in the battle of Batouche with the Toronto Grenadiers, 1885, frequently came over to Bisley with the Canadian Rifle Team, renowned as a crack shot. First interested in the violin 1896, bought a cheap German instrument and taught himself to play from an instruction book, subsequently became dissatisfied with the poor tone, hunted for another but failed to find one good enough at a price he could afford, consequently decided to make one. Bought wood and various gums to make varnish when in London, 1905; seriously studied the art of construction, produced five violins during the next six months, the fifth (a delightful model and neat workmanship) was sent to the Strad office, 1906, and laudatory notices appeared in that journal before and after a tonal test at the hands of Guido Papini. Graduated into a professional maker at Toronto, and rapidly achieved very excellent reputation throughout Ontario as a repairer of every type of stringed instrument. Celebrated his 74th birthday, 1925, happy and energetic enough to work eight and ten hours daily, fortunately not handicapped by dimness of sight. Produced about 80 violins, but no cellos up to year 1926. Original modelling, modifications and blends of the Guarnerian and Stradivarian, no two instruments absolutely the same in outline or elevation, and none belong to the Amati type or any of higher arching. Carpentry of scroll really splendid. Perfectly shaped sound-holes, and flawless purfling. Some one-piece backs are of the most handsome material possible to imagine. Varnish of various shades from golden yellow to reddish brown, a quick drying oil preparation of his own, fine texture and of brilliant transparency. Usually successful in imparting a particularly responsive tone, of considerable purity and only needing the necessary years for fine maturity. Priced from 200 to 1,000 dollars.
---------------------------------------------
Made by Thomas Mitchell
626 Yange Street, Toronto, Canada.
Anno 1920
---------------------------------------------
Also signed with his name.
MITSCHING, LEOPOLD
Born 1865. Worked at Elberfeld (Germany), 1894-1935.
--------------------------------
L. Mitsching Elberfeld
Hof-Instrumentenmacher
-------------------------------
(bearing coat-of-arms)
MITTEIS, ANTON
Born 1791. Pupil of Staufer at Vienna. Worked at Leitmeritz (Bohemia), 1826- 1870. Stradivarian modelling, every trait finely copied, neatest possible workmanship, reddish yellow spirit varnish. Tonal quality of persuasive timbre. Also built violins in the Russian style (without edges and corners). Others in the form of a guitar, of which the peg-box has no scroll.
-----------------------------------
Anton Mitteis in Leitmeritz
Schler von Staufer in Wien
Anno 1839
-----------------------------------
MLADENVITCH, NILUTIN
Born at Vranje (Yugoslavia), 1915. Worked at Belgrade for Truppel and Seic. Strad and Guarnerian modelling of fair achievement.
MOAN, JOHANN
German. Resident at Cremona, probably fictitious. Outline of no special characteristics, medium arching of tolerable graduation, ordinary workmanship, light brown varnish. Mellow tonal quality, nicely clear, but not strong.
----------------------------
Joannes Moan Germa-
nensis fecit Cremone
Anno 1647
----------------------------
MOBERG
Amateur at Ostersund (Sweden), 1900.
MCKEL, MAX
Born at Berlin, 1873. Son and pupil of Oswald. Went to Warsaw, 1897; worked at Moscow, established a workshop at St. Petersburg, 1899. Returned to Berlin, 1914. Died 1937. Stradivarian and Guarnerian modelling. Built 50 instruments yearly. Became interested in a varnish preparation by the celebrated chemist, Dr. Golonin, worked in conjunction with him, and concocted a varnish approaching closely to that of the old Italian. Subsequently returned to Germany, opened an atelier at Charlottenburg-in-Berlin, 1920. Instruments all follow the very desirable principles of his brother Otto. Modelling, workmanship, and varnish, as perfect in artistry as can be.
----------------------------------
Max Mckel Geigenmacher
St. Petersburg, anno 1902
----------------------------------
----------------
Max Mckel
Berlin 1930
----------------
(written)
-------------------
Max Mckel
Charlottenburg
-------------------
(date in an oval)
MCKEL, OSWALD
Born 1843. Pupil of Carl Grimm and Christian Adam. Worked at Berlin. Died 1912. Fine modelling after the Cremonese and Brescian, but not without slight modifications and considerable personality. Lustrous oil varnish, usually of reddish shade. Very strongly wooded, consequently maturity of tonal quality will only materialise with the passing of many years. Medallist at Brussels Exhibition, 1910.
--------------------------
Oswald Mckel
fecit Berlin Ao. 1879
--------------------------
(initials double-circled)
-----------------------------
A.D. 1908
Oswald Mckel. Berlin
-----------------------------
(with portrait)
Also constructed many valuable artist bows.
MCKEL, OTTO
Born at Berlin, 1869. Son and pupil of Oswald. Gained experience with Carl Grimm. Also attained proficiency in cello playing. Worked in London for Richard Brckner, 1890. Returned to Berlin to assist his father, 1892. Opened a workshop at Dresden, 1908. Succeeded to fathers business in the Charlottenburg Quarter of Berlin, 1912. Recognised as the most erudite expert of violin connoisseurship in Germany, 1930. Died 1937. Displayed remarkable expansive knowledge, theoretically and scientifically, in a monthly magazine titled Die Geige, 1925. Discovered the fundamentals according to which the old masters worked, on a special theory of plate tuning and thicknessing, and developed many fine toned instruments. Made several experiments in relation to outline and arching, ultimately conceived one having the combined traits of the Maggini and Stradivarius. Somewhat unusual tonal quality has appealed to many German soloists, who have proved their complete endorsement by repeatedly performing the great concertos on them. Most of his Dresden productions are of Guarnerian modelling; reddish varnish.
----------------------------------
Otto Mckel fec Anno 19. .
----------------------------------
(bearing the design of an unstrung violin, a candle and three books, bottom border of little stars)
Author of The Art of Violin-building (Leipzig, 1930), history, forms, material, acoustics, measurements of old instruments, scientific principles, repairing, etc. Magnificent and voluminous, over 100 illustrations. Also The Construction Secret of old Italian Masters - the Golden Ratio in violin-making, and Italian Varnish (Berlin, 1925).
MODAUDO, GIUSEPPE
Born at Siracusa (Italy), 1880. Worked, in 14th year, with Carabba Brothers at Catania. Resident at New York (1905), and Chicago. Lived at Rome, 1949. Made first instrument, 1895. Produced 500 violins and larger stringed instruments up to the year 1927. Rather superior kind of trade instiuments. Models after the Cremonese and Brescian, finished as though new instruments, or in imitation of the old. Breasts of chapped Swiss pine, well seasoned and acoustically resonant, backs of light Italian maple. Deep purfling, all other details excellent. Some backs have fanciful designs, which generally denote cheapness. Cremonese and Brescian oil varnishes, eight coats applied, elastic, thick, and transparent, yellow, dark red, and chestnut brown. Tone of the usual type, excellent of its species.
--------------------------
G. Modaudo
scolpi fino al manico
Anno 1924 - Catania
--------------------------
--------------------------
scolpi fino al manico
Scuola Cremonese
Catania. Italia
--------------------------
MODENI, ANTONIO
Specimen realised 10 (1920).
--------------------
Antonio Modeni
Modena 1831
--------------------
MOECKEL
see MCKEL.
MOELLER
see MLLER.
MOENNIG
see MNNIG.
MOENNIG, WILLIAM Born in Germany, 1883. Went to U.S.A. Pupil of Julius Guetter, Philadelphia. Produced first instrument 1904. Opened own premises called Ye olde Fiddle Shop in that city 1909. Completed about eight violins and one cello yearly Modelling after Stradivarius and Guarnerius. Best oil varnish, colour applied to suit the purchaser. Some instruments made of American curly maple and spruce; but the maker has proved that the European woods are superior for tonal quality. Nearly always one-piece backs. Scroll somewhat resembling that of the Guadagnini large pattern. Also good cellos and double basses.
----------------------------
William Moennig fecit
Philadelphia anno 19. .
----------------------------
(monogram on left)
MOENNIG, WILLIAM H.
Born at Philadelphia, 1905. Son and pupil of preceding. Also studied at Mittenwald. Successful copyist of many Italian models. Produced 300 up to year 1949. Made a quartet for the Curtis Institute ensemble.
---------------------------------
William H. Moennig, Jr.
Philadelphia-Pennsylvania
U.S.A. 19-
---------------------------------
MOERS, JEAN HENRI
Worked at Paris, 1760-1775.
MOFFAT, J. W.
Worked in London, 1860. Violins and cellos. Style somewhat similar to that of Kennedy. Name branded on back.
MOFFUGGI, JOSEPH
Worked at New Rochelle (New York), 1925.
MGLIE, ALBERT F.
Born at Rome, 1890. Luthier to the Opera House, Symphony Orchestras and Conservatorios. Built first instrument, 1908, produced over 100 up to year 1925. Invited to Cincinnati by Wurlitzer, 1914, to do some finer repairing on a number of Strads and such like, transferred to Wurlitzer House at New York, 1917, opened own workshop at Washington, 1923. Specialist in reproductions of old Italian instruments, especially the Cremona school. Elegant designs and wondrously neat workmanship. Invented Cremonese and Venetian varnishes, various shades from golden red to orange red. Innovator of a special bass bar. Such inspired structures (natural transformations of the highest and truest principles) will, in the future have that sonorous mellowness of tone (with full strength), so much desired by virtuosi. Prepared an exhibit of the evolution of the violin, placed in the Smithsonian Museum at Washington. Produced many bows, reliable understudies of standard types.
---------------------------------------
Alberto Ferdinando Moglie A.F.
Fecit Romae. Anno 1925 M
---------------------------------------
Also Albert F. Moglie written. Same label used for all instruments made by him in America, the latest dated 1949 has Washington, D.C. - U.S.A. added in block lettering.
MOHLIN, AREL
Born 1890. Amateur at Vnersborg (Sweden). Good Strad modelling, careful workmanship, very graceful sound-holes and finely cut scroll, all harmoniously united to receive excellent clear yellow or reddish brown varnish.
---------------------
Arel Mohlin
Vnersborg 19. .
---------------------
MOHTE, JOHANNES GEORG
Born 1690. Worked at Engelholm (Sweden). Died 1765. Very talented and ingenious worker. Made a few violins but better known for violas and viol-da-gambas. Many have richly decorative bone inlay, also dragon heads and other fanciful carving.
-------------------------------------
Johannes Georg Motte geigen
macher Engelholm Anno 1726
-------------------------------------
(written)
--------------------------------------
Johannes Georg Mohte
Engelholm. Anno Christij, 1751
--------------------------------------
-------------------------
Jean George Mohte
Engelholm. Ao 1735
-------------------------
MOINEL, AMEDE
Born 1894. Son of Charles. Pupil of Bazin. Killed in the war, 1915. Though working about 5 years he produced a large number of very acceptable bows. Stamped Moinel-Cherpitel.
MOINEL, CHARLES
Born at Paris, 1866. Pupil of his father (Franois) and of Germain. Successor of Cherpitel (his uncle), 1893. Retired to Voulangis, 1922, but continued to produce. Died 1945. Sincere artist and excellent maker, left his mark on the art of his country. Beautiful outline and irresistible charm in the arching. General contour of marked originality. Tone unfailingly supplies the wants of a soloist or orchestral player. Reddish brown oil varnish with yellow base.
---------------------------------------------
Charles Moinel
Succr. de E. Cherpitel
Paris, 16 rue du Faubg. Poissonnire
---------------------------------------------
---------------------------------------
Moinel-Cherpitel Luthier
16 Fg Poissonnire, Paris, 1899
---------------------------------------
MOINEL, DANIEL
Born 1901. Son and pupil of Charles. Established own premises at Paris, 1934. Strad and Guarnerian modelling, architectural character of the originals well portrayed. Rich orange or reddish brown varnish.
--------------------------------------
Fait en 1948 par
Daniel Moinel
Luthier 45 Rue de Rome Paris
--------------------------------------
(with signature and design)
Branded inside, also sometimes on bottom rib near tail piece button.
MOINEL, FRANCOIS
Worked at Paris, 1860. Died, 1916. Clever maker who seldom labelled or branded his instruments.
MOISSAL, FREDERICK GEORG
Worked at Klingenthal (Saxony). Commonplace appearance, dark brown red varnish. Very plain wood for backs, some having a peculiar water-mark. Tonal quality fairly mellow but decidedly dull.
------------------------------
Frederick Georg Moissal
Klingenthal 1814
------------------------------
(written)
Probably a mis-reading of Meissel.
MOITESSIER, LOUIS
Worked at Mirecourt, 1780-1824. Produced a large quantity of instruments, various models, sometimes large and long, also smaller and bulgy looking. Workmanship invariably exhibits such impropriety of discretion and good taste that his violins supply but little interest to modern players. Dark brown (occasionally yellow) varnish throwing a melancholy hue over the whole structure. Made several violins with the belly, back and sides all cut from the same piece of maple wood, but tonal results did not meet with the praise he anticipated. Others have fancy heads. Made a violin having a French military scene painted on the back and inscribed LEspoir de la France. Yellow varnish and small sound-holes. No specimen of his extensive output worth more than 15. Cellos usually 74.8 cm body length.
---------------------------------
Ludovicus Moitessier fecit
anno Domini, 1781
---------------------------------
Moitessier Paris or Moitessier generally branded inside. Did not work at Paris but adopted the brand for trade purposes.
MOITESSIER, PROSPER ANTOINE
Born at Carcassone (France). Worked at Montpellier, 1830-1847. Principally an organ builder. Also made various stringed instruments, some of curious designs.
-----------------------------
P. A. Moitessier No. 10
Montpellier. 1833
-----------------------------
(with monogram)
MOLA, FRANCESCO
Born 1641. Worked in twelfth year with Nicol Amati. Amatese modelling, splendid workmanship and varnish. Many instruments re-labelled with other Italian names.
MOLGEDEY, JOHANN RUDOLF
Born 1875. Worked at Knigsberg (Prussia), 1892-1922. Generally Stradivarian and Guarnerian modelling. Indulged in highly skilful attuning of the plates. Workmanship particularly painstaking. Made a special study of varnishes. Found an oil preparation and a priming varnish which had little affinity with each other in colour and (by using a resisting substance) managed to prevent the running together of the two varnishes. Also known as an excellent violinist.
--------------------------
Joh. Rud. Molgedey
Knigsberg Pr. 1897
--------------------------
MOLIA, ANGELO
Worked at Genoa, 1758-1764. Smallest designs showing that he was animated by artistic sentiments. Scroll, sound-holes and purfling likewise prove that he revelled felicitiously in neat workmanship and his colour imagination in varnishing completes a very pretty structure. Tone not ideal but has the sweetness that pleases in the drawing room. 175, 1960.
-----------------------------
Angel Molia
Fece in Genova A 1758
-----------------------------
MOLINARI, ANTONIO
Worked at Venice, 1672-1703. Mostly violins and violas of large proportions. Workmanship done under the critical supervision of an artistic mind and clever hand. Tonal quality of commanding sonority. 650, 1960.
-------------------------------
Antonius Molinarius
fecit in Venezia. Ao 1701
-------------------------------
MOLINARI, JOS E.
Worked at Buenos Aires, 1890-1898. Exhibited violins and guitars at Chicago, 1893, secured a diploma of merit.
MOLINARI, JOSEPH
Worked at Venice, 1735-1765. Instruments thoroughly impregnated with traits of the Venetian school. As regards the merit of design or sufficiency of tonal sonority no adverse opinions can be expected. Varnish of a rich golden red shade. Tonal quality deeply mellow yet of considerable brilliance and penetrativeness. Wood of the very choicest quality and beauty. 650, 1960. Also made lutes, theorbos, mandolines and guitars.
-------------------------------
Joseph Molinari
fecit Venetiis. Anno 1759
-------------------------------
(small print, decorative border broken at sides)
MOLLENBERG, LORENTS (LARS)
Worked at Stockholm, 1807-1824. Principally lutes and theorbos, very few violins.
------------------------
Lorents Mollenberg
Stockholm. 1814
------------------------
(large copper-plate lettering)
MOLLENHAUER, BERNARD
Celebrated violinist and teacher. Born at Hamburg, 1850. Lived at New York and San Diego. Died 1920. Built several violins on which he played his brilliant solos, sometimes using three and four at the same concert to show off their diversified qualities.
MOLLENHAUER, EDUARD R.
Father of Bernard. Born at Erfurt (Saxony), 1827. Fine violinist who located himself at New York, 1854. Opened a Violin Academy. Died 1914. Invented (1881) a design for dividing the inside of a violin or cello into two chambers, by means of a fiddle-shaped plank resting on a supplementary side-lining set round the centre of the ribs. Claimed that this gave greater sonority to the instruments.
MOLLER FRID VILHELM
Born 1895. Amateur at rebro (Sweden). Excellent Strad and Guarnerian modelling. Varnish of various shades. Also violas and three-quarter size violins.
MLLER, MAX (1)
Born at Markneukirchen, 1875. Worked at Berlin, St. Petersburg, and finally at Amsterdam, 1913. Died 1948. Instruments of Stradivarian and Guarnerian modelling, all having structural points worthy of the highest praise. Built for full maturity in posterity. Varnish of own preparation, received recognition from a wide circle of connoisseurs.
----------------------
Max Mller
Amsterdam, 1914
----------------------
(written and printed)
------------------------
Max Mller
P. C. Hoofstraat 34
Amsterdam
------------------------
(printed with date and monogram)
Produced 250 violins, violas and cellos. Also bows that hold themselves far aloof from general merchandise. Author (in collaboration with son), of Italiaansche Vioolbouw (Amsterdam, 1938).
MLLER, MAX (2)
Born 1915. Son of preceding. Studied at Mittenwald. Worked for Enel (Paris) and for Sacconi (New York). Subsequently returned to fathers place. Considered a great expert. President of Dutch Group of Violin Makers. Four or five violins produced yearly. Also especially fine violas of individualistic modelling. Was a member of the Expert Committee of the Stradivari Exhibition in Cremona 1937, and since then, either member of the Jury or winner of highest award in all international violin-making competitions (the Hague 1949; Cremona 1949; Rome 1952; Festival of Britain 1951; Liege 1954 and 1957; Italy 1959). Published The Violinmakers of the Low Countries (1955), and numerous articles on violin-making in Violins and Violinists (Chicago) and other magazines and papers.
----------------------
Max Mller
Junior
Amsterdam 1949
----------------------
(with monogram)
-----------------------------
Max Mllter filius
Amsterdam 1937, op 2-
-----------------------------
(written)
-------------
Max 1950
M. o. ller
-------------
(printed, with date hand-written)
MOLYNEUX
French. Went over to Dublin in the time of the Huguenots. Worked there about 1800, had a workshop in a place called Hell (a lane by the side of the old city wall alongside Christ Church Cathedral). Specimen of work in Dublin Museum. Capital design, rather refined workmanship, whole contour quite Italian in character.
MOMBELLI, GIACOMO
Born at Novara (Italy). 1886. Worked at Triest and Brussels. Established at Buenos Aires, 1926. Also a talented violinist and viola player. Consummate Strad modelling, and pre-eminent varnishing. Also several replicas of famous viol-da-amours.
-----------------------------
Mombelli Giacomo
Novara. Prof. di viola e
Liutaio, fece in . . .
-----------------------------
MONDI, CARLO
Venetian violin in the Brussels Conservatoire.
-----------------------------
Al.21 Agosto 1654
in Venecia San Marco
Carlo Mondi
Goizen di un coromer
-----------------------------
MONCKTON, MAJOR JOHN E.
Lived at Brewood (near Wolverhampton), 1860-1880. Amateur violinist of great ability. Gained experience in violin-making from Vuillaume. Made violins of peculiar construction and achieved excellent results with some of them. Also produced violas, viol-da-gambas and clarinets.
MONFRINI, LUIGI
Worked at Rome, 1810. Uneventful excursions in the various departments, therefore making but slight impression on the viewer.
MONGEL
Frenchman who posed as working at Turin, 1820-1830. Indubitably of Mirecourt emanation, good model of the usual broad proportions, not greatly arched, sound-holes very openly cut. Slab back with flame of wood slanting downwards from left to right. Golden-brown oil varnish, powerful and ringing tone. Branded Mongel A Tarini triangularly (Mirecourt custom) on the back inside, also A la ville de Turin A. Mongel. Paris.
MONGEL, V.
Worked at Mirecourt. Very flat and broad Stradivarian modelling. Branded V. Mongel. Paris.
MONGRAND
Nom-de-plume of an Englishman working in London, 1857. Brought out violins having interior vibrating strings for reinforcement of tone.
MONK, JOHN KING
Born 1846. Worked at Merton (Surrey). Splendid Stradivarian modelling, always excellent material, lustrous oil varnish (pale yellow to deep golden-red) of fine quality. Introduced a Maggini bass bar system, and a triple-bar arrangement (ordinary bass bar reduced in length and thickness, and two smaller bars, one on either side, added). Only a few of his instruments have these suspicious innovations (designed for eliminating inequality of certain notes), the remainder of his fairly prolific output are built on orthodox lines.
----------------------------
J. K. Monk
Maker
Merton. Surrey. S.W.
No. 70 1889
----------------------------
MNNIG, ADOLF
Born in Saxony. Worked at Budapest, 1860-1883. Went to Debreczen in 80th year, and died soon afterwards. Stradivarian, Guarnerian, and Maggini models. To be considered as equal with the best Saxon types, though he made more than a few rather incompatible with those good qualities. Brownish varnish on yellow ground, very transparent. Made all kinds of useless experiments, discovered a tone improver, designated Multiplicator, but his perilous propensity for interfering with natural laws proved empty, vapid, and pointless long enough before his career ended.
----------------------
Adolphus Mnnig
op. 38
fecit Pestini 1878
----------------------
MNNIG, ADOLF RICHARD
Born 1876. Son and pupil of Ernst Richard. Worked at Markneukirchen. Instruments similar to those of his Uncle Adolf. Also made very attractive viol-da-gambas.
-------------------------------------------
Ad. Richard Mnnig jr
(genannt Pester) Geigenbaumeister
Markneukirchen. Sa.
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MNNIG, AUGUST HERMANN
Worked at Markneukirchen, 1875-1927. Son Johann continued the business. Splendid artist bows for violin and cello.
MNNIG, ERNST RICHARD
Born 1850. Son and pupil of Adolf. Worked at Markneukirchen. Died 1928. Known as The elder Pester. Cremonese and Maggini models. Various shades of varnish. Branded Pester.
MNNIG, FRITZ
Born 1890. Worked at Kiel, Hamburg, and Berlin. Established at Markneukirchen 1912. Splendid copies of standard models which have ingratiated themselves into considerable favour in several countries.
MNNIG, HERBERT
Born 1896. Son of H.M. Worked at Frankfort for Kessler, 1919. Successor, 1945. Esteemed workmanship of standard models.
MNNIG, HERBERT MORITZ
Born at Markneukirchen, 1909. Worked at several places in Saxony and Bavaria. Principal repairer etc., for Jehle at Ebingen. Customary excellent modelling of the various standard models, oil and spirit varnishes of several shades.
-----------------------------------
Herbert Moritz Mnnig
Geigenbaumeister im Atelier
Johs. Jehle
fecit Ebingen anno 1949
-----------------------------------
MON, WILLI GOTTHARD
Born 1884. Resident at Angelholm (Sweden). Violins signed Nr . . . . 1949. W. G. Mon.
MONTADE, GREGORIO
Worked at Cremona, 1690-1735. Name also given as Montada, Montaldi, and Montani. Imitated instruments of Omobono Stradivari, was probably his pupil. Seized, with a strong hand, all the recommendable attributes of excellent workmanship.
-----------------------
Gregorio Montade
Cremonensis 1693
-----------------------
MONTAGNANA, DOMENICO
Born 1683. Pupil of Amati and possibly of Stradivari (as some historians have claimed). Settled at Venice about 1708; worked at the Sign of Cremona. Died there about 1756. Each maker has his own peculiar potentialities, and it is unfair to judge the standard of one by that of another. Sufficient prejudice and predilection can be shown, and is always shown even by a conscientious critic in the comparison of one school with another, without disagreeing in irrational and endless controversy. Every violin should be judged according to the tonal result quite irrespective of who made it. If it be a success it can surely be argued that the end justifies the means. After we are satisfied about the tone (and not before) the desire to understand and interpret the makers motives should be the next procedure and root of our judgment. Although the violins of Montagnana cannot rank with those of Stradivari, Guarnerius, Guadagnini, or Lupot they prove that this not very prolific maker has achieved much that may be termed artwork in his own style. This is the whole matter. and it is idle and profitless to pit their success against the others. Whether it be due to the severe scrutiny of his teachers during his long term of pupilage, or to his natural talent, the fact remains that his work is singularly free from blemish.
Gradation, in varnish as well, seems to have been the laudable end in view. An excellent object lesson to many. No striving after superflous originality (though he had marked individuality) but that feeling for correct symphony tones which marks the best work over and over again. A straightforward worker. Often termed the mighty Venetian. Output unusually small, produced about 20 violins, 7 or 8 violas, a few cellos, and double-basses. Violins of two sizes, one having an outline almost identical with the Amati, but with slightly fuller upper and lower bouts, the other of larger pattern (and far more valuable) with arching and thickness of wood similar to the first period Strad, one or two specimens have fuller arching. Curves have the utmost refinement, inner ones being particularly drawn-out, thus affording a suggestion of distinction which is always recognisable. Sound-holes vary, some having an inclination outward towards the lower corners, and rather similar to some of Joseph Guarnerius, others suggest Stainer traits though longer. Both types have an artistic swing. His slight peculiarity in placing them the tiniest bit closer than usual to each other, has the effect of giving the body a longish appearance more apparent than real. Corners generally quite prominent, but faultlessly worked. Masculine scroll of splendid grace, finely carved. Purfling as perfect as possible. Wood always of the finest kind, and beautifully figured. Lustrous varnish of superb texture varying from a soft transparent golden-red to a rich ruby-red. All the above qualifications added to a tone of carrying power and persuasive sweetness, make these instruments worthy of the virtuosos attention. Those dated from 1710 are less valuable than those dated from 1727 onwards.
Several specimens have been placed on the market under the nomenclature of a Guamerius or a Bergonzi and even a Stradivarius. An American firm of violin dealers (in 1919) offered a Montagnana violin (dated 1737) for sale, which they acclaimed without fear of contradiction, to be the most gorgeously toned of all his creations. Judging by the photographs sent for our inspection, we are bound to confess that no other violin could have a more handsome appearance. But, we think that a prospective purchaser would pass through considerable conflicting emotions before parting with the sum of 7,500 dollars, and we dare prophesy that he will not be a concert artist, but one of those opulent art collectors who are primarily the cause of the mountainous summits in prices. This instrument was in the Collection of Tarisio, later acquired by Vuillaume, and eventually became the solo instrument of Jules Garcin, of Parisian fame.
Fine specimen dated 1725, owned by Cyril Woodcock. Body length, 14.1/16 inches; upper bouts 6-1/2; middle 4-3/8; lower 8-7/8; from top edge to apex of sound-hole, 6-1/4; from lower apex of sound-hole to bottom edge, 4-1/2. His violas have a deep mellow tone which is astonishingly penetrating. Measurements of a very fine example: Body length, 41 cm.; upper bouts 19.1; middle 13.2; lower 23.6. Longitudinal length to sound-hole, 225 mm.; height of upper ribs, 32-1/2 mm.; middle 33-1/2; lower 35. Hazel pine in two pieces, for top; one-piece back of small flamed maple. Red-brown varnish with a fine brown-yellow background. Attuning of the plates, between B and C. Cellos valued as wonderful solo instruments. In workmanship and conception nothing omitted appertaining to beautiful appearance and fine tone. His superlatively gifted handling of deep red varnished double-basses is recognised by every connoisseur. In this particular department there has never been a superior. In Vienna there is a cello-like instrument of his with a maple body in guitar form, high arching, sound-holes C-shaped and frets. A renowned specimen, dated 1739, known as the Sleeping Princess because it had not been played upon for 100 years until acquired by Gregor Piatigorsky (world-famous virtuoso) who used it many years until 1951 when he sold it to Aldo Parisot. Small size 850. Larger 1,750 approx. Cellos 2,000. Violas 1,000. (1960).
---------------------------------------------
Dominicus Montagnaus Cremonensis
fecit Venetiis 1712
---------------------------------------------
-------------------------------------------
Domenicus Montagnana sub
signo in ab prope Oenipontum fecit
anno 1730
-------------------------------------------
---------------------------------------
Dominicus Montagnana Sub Si
gnum Cremonae Venetiis, 1729
---------------------------------------
---------------------------------------------
Dominicus Montagnana
Sub. Signo. Cremonae Venetio, 1751
---------------------------------------------
MONTANARI, ENRICO
Worked at Modena, 1900. Died 1945. Attractive modelling and good textured varnish.
MONTANARI, LUIGI
Worked at Milan, 1880. Died 1908. Strad and Guarnerian modelling. Generally golden-orange varnish, occasionally a red on yellow base - both transparent.
MONTAVOCI, FERNANDO
Resident at Airuno (Como). Died 1940. Fair workmanship.
MONTEFIORI, ERMINIO
Worked at Genoa, 1870; and at Marseilles, 1902. Died 1915. Good modelling of very slight gradient. Table-wood often too old, consequently wormeaten in several specimens. Scrolls artistically carved. Yellow, or yellow-brown varnish. Cellos generally recognised as being superior to the violins. Many excellent bows stamped Montefiori. 85, 1960.
MONTIERO, HENRIQUEZ
Worked at Lisbon, 1889. Died 1910. Few violins but greater productivity of guitars.
MONTELIUS, E. A.
Amateur at Motala (Sweden) 1925. Won silver medal at Stockholm, 1925.
MONTERUMICI, ARMANDO
Born at Vedrana, 1875. Pupil of R. Fiorini. Worked at Bologna, 1907-1925. Rose to a most adequate sense of his responsibilities, and with an array of technical appliances, worked up magnificent expositions of artistry and beauty. Stradivarian outline with Guarnerian sound-holes. Also splendid cellos.
----------------------------
Armando Monterumici
Votogna. Anno 19-
----------------------------
MONTEVECCHI, LUIGI
Born at Cesena (Italy), 1868. Cabinet-maker. Violins recall the Cremonese, but have personal touch. Elegant form. Conscientious workmanship, accurate in every detail, especially inside. Brilliant and fine quality varnish (secret process).
MONTGILBERT
Amateur at Cusset (Allier), 1815-1846. Ordinary type of instruments.
MONTURRI, GIUSEPPE
Worked at Piumazzo, 1845. Nothing outstanding in design, but careful workmanship.
MONZINO, A. AND SONS
Establishment at Milan. Founded 1750. Constructors of bowed and plucked instruments. Famous throughout the world (1940) for guitars and mandolines. Recipient of many medals.
MOON, WILLIAM
Born in England. Resident at Kingston (Jamaica), 1900-1914.
MOOR, EMMANUEL
Hungarian. Born 1863. Lived at Berlin, Munich, Switzerland, Paris, and Camberley (Surrey). Died 1931. Famous composer of chamber music, and many difficult works, including a Concerto for violin. Conceived a new form (very high-bellied), no corners, fantastic sound-holes, violin for which he claimed wondrous tonal sonority. Specimens made by Laberte-Magni at Mirecourt.
MOORE, ALFRED
Worked at Isle of Man, 1800. Violins, violas and cellos. Very conscientious worker. Mainly Strad modelling, very nice varnish. Reported that Haydn Wood owned one of his violins.
MOORE, ANTHONY JOHN
Artist-painter. Resident at Sunderland, 1886-1905. Fairly good representations of the Strad model.
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Anthony John Moore
Sundertand. Fecit anno 1899
Table made of wood 200 years old.
No. 11
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(with monogram)
MORANO, ARNALDO
Born 1911. Worked at Turin and Rosignano. Won gold medal at Cremona, 1949. Violins, and all the bowed instrument family. 90, 1960.
--------------------------
Arnoldo Morano fece
Torino. Anno 1942
--------------------------
(with signature)
---------------------------
Arnaldo Morano fece
Rosignano anno 1947
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MORARA, PAUL
Born 1889. Artist-painter, sculptor, and cellist. Studied violin construction with G. Fiorini. Resident at Budrio (near Bologna). Won bronze medal at Cremona, 1949. Some cellos have received laudatory notices from orchestral players at Bologna. 80, 1960.
-----------------------------------------
+ Pautus Morara fil. Stanistai
JNP Josephi Fiorini Disciputus
fecit Butrium An. D. 1949
-----------------------------------------
MORDRET, LON
Amateur. Born at Louviers (France), 1850. Made several praiseworthy violins to demonstrate his modest theories for violin construction. Author of Lutherie artistique (Paris, 1885) and Cremona Violins (Rouen, 1898).
MOREL, ANDR Born at Madecourt (Vosges), 1894. Pupil of Paul Mangenot. Especially fine double basses. Signed on the interior with a pen or violet crayon.
MORELL, OLIVER
Student of the Bretch School of Violin Making, 1915. Resident at Omaha (Nebraska), 1925.
MORELLA, MORGLATO
Worked at Mantua and Venice, 1545-1602. Famous for lutes and viols, the latter occasionally transformed into violas and cellos of small size. Few violins have come down to the present age to justify his fame, many of them undoubtedly imitations unscrupulously foisted on the public by certain vendors. Reddish-brown varnish. Some have double-purfling and inlaid coat-of-arms on the back (a crowned shield in the centre) carrying three fleur-de-lys on a blue field - crowns in the four corners. Ribs with inscriptions. Fanciful heads, generally that of a clown.
----------------------
Morglato Morella
Mantuae 1545
----------------------
(large Roman lettering)
--------------------------
Morglato Morella
fece in Venetia 1594
-------------------------
Sometimes Venecia instead of Venetia.
MORETTI, CARLO
Born 1891. Worked at Ancona; and at Rome, 1927. Produced 200 violins, violas and cellos up to year 1949. Oil varnish of golden-red shade.
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Carolus Moretti Anconitanus *
Fecit Anconne - Anno Domini 1926
--------------------------------------------
Similar label with Roma instead of Anconae.
MORETTI, EGIDIO
Born at Udine 1894. Cabinet maker. Worked at Lavagna (Genoa). Cremonese modelling, good designs and excellent workmanship. Varnish with soft resinous base, yellow-brown or reddish-yellow, very transparent.
----------------------
Costruttore
Moretti Egidio
Udine anno 1924
----------------------
---------------------------------
Moretti Egidio - Udinese
fece in Lavagna anno 1949
---------------------------------
MORGAN, JAMES
Born at Kincardine, 1839. Died at Edinburgh 1906. Violins and cellos, Stradivarian modelling, and spirit varnish. Average amateur workmanship. Name and date signed on the interior.
--------------------------------
James Morgan. Maker
April 8 - 1900. Edinburgh
--------------------------------
MORGAN, WILLIAM
Born 1844. Keeper for many years of Dunnottar Castle at Stonehaven (Aberdeenshire). Fitted up a workshop in the romantic old ruins of the castle by the sea. Died 1922. Made over 100 violins from 1890. Some of Stradivarian and Guarnerian types, but the majority of the Alessandro Gagliano style with arching slightly reduced. Workmanship and model of masculine strength, not much in the matter of refinement, but permeated with a ruggedness rather pleasing. Sonorous tonal quality, clear and brilliant, only requiring the necessary years for maturing to something of the Italian velvetness. 75, 1960.
---------------------
William Morgan
Dunnottar Castle
---------------------
(large, with decorative border)
MORGENROTH and HARRAS
Worked at Gehren (Thuringia), 1895. Exhibited good merchandise under the name of Konzert-Geigen.
MORHANGE, A.
Established at Paris 1919. All bowed and plucked instruments, also bows.
MORITZ, ALFRED
Head of a factory at Dresden, 1880-1900. Had agencies in London, and superbly yellow-varnished violins (priced 3 to 5 guineas) were immensely popular for many years.
------------------------------------
Copy of Antonius Straduarius
Fecit Dresdae. Anno 1889
Expecially made for -
------------------------------------
With the word Excelsior, and monogram double-circled. On third line appeared the name of a particular trader or local player. Sometimes the same advertising process was engraved on rear of scroll.
MORIZOT, EUGNE
Worked at Mirecourt, 1870-1880. Dated his instruments as though made at Paris. Specialised in well-finished violas. 80, 1960.
MORIZOT, LOUIS
Atelier at Mirecourt, 1925. Assisted by five sons. Presented magnificent handmade bows. Admired by artists, connoisseurs, and amateurs. Made of rich material and very artistically mounted. A maker who has consecrated his activities to the highest artistry. Obtained highest award at the Exposition Artisanale, Paris, 1927. 10-15 & 25, 1960.
MORIZOT, REN Born at Mirecourt, 1917. Sixth son of Louis. Pupil of Audinot. Strad and Guarnerian modelling, impeccable workmanship and attractive varnish.
MARLOT, JEAN
Good-class trade instruments, probably made at Mirecourt 1920-1930. Dark yellow varnish, bright finish, good scroll, pretty wood. Violins and cellos.
MORLOT, NICOLAS
Born at Mirecourt 1780. Pupil of Nicolas ain. Died 1856. Emanations from a Mirecourt firm 1860-1900. Very broad model, well proportioned, but slightly heavy in character. Very flat arching, broad across the waist. Backs often ornamented with designs representing mythological subjects. Dullish yellow or dark brown varnish. Loud tone, totally unsympathetic. Similar to the Didier Nicolas school. Branded in triangular fashion inside on the back, A la ville de Cremonae Nicolas Morlot. 75, 1960.
MORONA, ANTONIO
Ecclesiastic at Isola near Capo dIstria (Italy). Born 1689. Died 1746. Made viol-da-gambas and a very few violins. Accurate workmanship, pleasing tone.
-----------------------------------
Presbyter Antonius Morona
Insulanus ex Istria fecit 1731
-----------------------------------
(exceedingly neat writing, looking like print)
MOROSOV
Worked at Moscow 1925. Stradivarian modelling, violin and violas - splendid workmanship, but general appearance rather heavy. Soft varnish of pretty hue, thinly applied. Clear tonal quality which has impressed his countrymen.
MORRIS, HENRY
Resident at Darlaston (Staffs.) 1880-1912. Well-to-do businessman and quite a good amateur violinist, also dabbled in astrology and possessed a fine set of telescopic instruments. Owner of a splendid pig-Guarnerius copy by Joseph Chanot. Became enamoured with violin construction, dissected this instrument and ultimately achieved reasonable success in producing twelve replicas, dedicated them to the twelve names of the Zodiac, and afterwards presented them to various friends. Capitally constructed and covered with a thickish golden-yellow varnish.
/----------------------------------/
/ Henry Morris /
/ Made at Darlaston in 1890 /
/----------------------------------/
/ Sagittarius /
/ ---------------------------------/
Others named Aries, Taurus, Scorpio, Aquarius, Capricornus, etc. 80, 1960.
MORRISON, ARCHIBALD
Born at Falkirk 1820. Went to Glasgow 1837. Became known as a brilliant strathspey-player, and organised a special band for dances. Died 1895. Instruments date from 1854. Worked for John Mann 1860. Established own workshop 1865. Early specimens either Amatese or Stradivarian, later ones exclusively Guarnerian. Designs pot especially artistic, nor workmanship without little blemishes. Dullish varnish, ordinary woods, strongish tone, suitable for ballrooms.
----------------------------
Archibald Morrison
Maker. Glasgow. 1873
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MORRISON, JAMES
Born 1827. Worked at Dunfermline (Scotland). Stradivarian modelling, workmanship shows a fair readiness of hand, red oil varnish. Breasts generally of red pine. Tonal quality of considerable carrying power and clarity.
--------------------------------
James Morrison
Maker. Dunfermline 1892
--------------------------------
MORRISON, JOHN
Born 1760. First worked in Princes Street, Soho. Moved to Shadwell, 1819. Subsequently in Little Turnstile Holborn. Died 1827. Majority of instruments made for dealers. Workmanship generally haphazard. Some violins have edges inlaid with mother-o-pearl. Chocolate-brown or reddish varnish, both of common appearance. Made a few superior cellos, priced at 25 (1920) on account of a responsively full tone, Strad model. Some instruments bearing his name have come from German factories.
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Jhn Morrison, London
made 1798
----------------------------
MORTIN, LON
Worked at Mirecourt. Successor to Darte and Cunin, 1891. Stradivarian modelling, reddish-chestnut varnish.
-----------------------------------------------------
Ancienne Maison Vuillaume Darte et Cunin
Lon Mortin. Luthier
No. . . . Mirecourt, 1904
-----------------------------------------------------
MORTIMER, J. W.
Born at Gomersal (near Leeds), 1857. Resident at Cardiff 1890-1926. Violins, violas and cellos, usually of small form, amber varnish of own formulae, clear and penetrating tone. Had greater reputation for very excellent double-basses.
-----------------------------
John William Mortimer
Maker. Cardiff. 19 . .
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MOSHER, A.
Born at Owasso (Mich.) Established at Calcium (N.Y.) Amatese and Guarnerian modelling, varnish of own formula - an oily spirit, various shades from yellow to brown tinted with red. Claimed to have discovered a filler which undeniably quickens maturity of tone.
------------------------
Alex. H. Mosher
Calcium N.Y. 1926
------------------------
MOUCHITCH, MIHAEL
Born 1870. Studied at Vienna. Resident at Ljubljana (Serbia), 1935. Strad and Guarnerian modelling, reddish-yellow or brownish-yellow oil or spirit varnish.
--------------------------------
M. Mouchitch
Labaciensis
fecit 192. opus numero . .
--------------------------------
----------------------------------
M. Music. Labaciensis fecit
anno 192. opus nr. . .
----------------------------------
MOUGENOT
Nine makers of this name worked at Mirecourt, 1680-1780.
MOUGENOT
Born at Mirecourt. Worked at Rouen 1760-1790. Stradivarian modelling without distinction. Workmanship not especially well finished. Notwithstanding these slight strictures, experts of unbiassed judgement, have recorded a rather splendid tonal quality, particularly full and responsive. It requires no foresight to predict a sale commensurate with the interest this tone excites. Fine acoustical belly-wood and handsome material for back. Excellent orange-brown varnish. 50, 1924. 90, 1960.
----------------------------
Mougenot
A Sainte Cecile
rue Gauterie, Rouen
1770
---------------------------
(decorative border)
MOUGENOT, GEORGES
Born at Mirecourt, 1843. Apprenticed to Deroux. Worked for Darche at Aix-la-Chapelle, 1864. Lived at Liege, 1867. Succeeded to the business of N. F. Vuillaume at Brussels, 1875. Died in 95th year, 1937. Superb modelling, Stradivarian and Guarnerian, delightful avoidance of any coquetting with those perfect designs. Idiosyncrasies of the two different types of sound-holes very cleverly realised. Particularly elegant scrolls, felicitous in refined carving, bold without stiffness, and altogether impressive. Magnificently tonal belly wood scrupulously chosen for its thin grain, backs of the richest material. Brown-red varnish for the Strad copies, golden-red for the Guarnerius, both of a beautiful oil preparation, transparent and full of life. Gold medals at Paris (1878), Amsterdam (1883), and Antwerp (1885 and 1894). Cellos of the same noble forms and varnish. Occasionally copied the Maggini violin of De Briot. Built two specimens for the Amsterdam Exhibition, having the portraits of Mozart and Beethoven painted on embedded ivory at the lower part of the back. Another violin had an inlaid design of the Amsterdam coat-of-arms. 125, 1960.
---------------------------------------------
G.M.
Georges Mougenot, luthier du/
Conservatoire Royal, Bruxelles 1899
---------------------------------------------
------------------------
Georges Mougenot
Bruxehles 1898
------------------------
(written)
Also bearing signature etc. across and at the foot. Some instruments branded inside.
------------------------------------------------
Copie du Roi Joseph par
Georges Mougenot luthier du
Conservatoire Royal de Bruxelles 1900
------------------------------------------------
Label of instruments made by his assistants:
----------------------------------
G.M.
-------
Rue Saint Jean 47 Bruxelles
----------------------------------
Made in Belgium either above or below. Invented a bridge of double pressure for augmenting sonority of third string.
MOUGENOT, LON
Born 1874. Pupil of the preceding. Worked for Blanchard at Lyons, Jombar at Paris, and Hill and Sons, London. Established at Mirecourt, 1899, where he had scores of pupils. Exact imitations of the Stradivarius, Guarnerius, Vuillaume and Lupot. Superfine workmanship, guaranteed hand done. Also models not varnished to have the appearance of age. Remarkable for transparent varnish of warm aspect, various shades, notably a golden-red, and a soft crinkly mottled brown. Veritable art productions, sonorously clear tone, all for 8. 60, 1960.
--------------------------------------
Lon Mougenot
No. . . . Mirecourt, anne 19. .
--------------------------------------
In addition to the brand mark L M within, is also the makers signature.
----------------------------------------
Lon Mougenot-Gauche
ex-ouvrier des les. Maisons de
Bruxelles, Lyon, Paris, Londres.
----------------------------------------
MOUGEOT
Mirecourt style (1800-1830), broad proportions, wide-grain and coarse belly wood, slab back, light brown varnish.
--------------------
Mougeot Paris
--------------------
Branded inside.
MOUGIL. (MOUGEL)
Possibly of Mirecourtian manufacture (1800), solidly constructed, relatively unimportant inaccuracies, ordinary workmanship, large bottom curves of sound-holes, one-piece back, light brown varnish.
Branded in block letters:
--------------------------------
A LA VILLE DE TURIN
Mougil
--------------------------------
MOULIN, EMILE
Worked at Geneva, 1926. Very ordinary Cremonese modelling, violins and cellos.
MOULTON, EMMONS CALDER
Born in New Hampshire (U.S.A.), 1863. Exploits in violin structure first consummated at Norfolk, 1907. Resident at Pasadena, 1927. Various models, various shades of varnish, mostly golden-yellow. Workmanship indubitably first-class. Brilliant tonal quality with prospects of a rapidly maturing mellowness. Over 200 specimens have come from his talented hands.
------------------------------------
Made by E. C. Moulton C
Norfolk. Virginia. 1907 E M
------------------------------------
(yellow paper)
---------------------------------
Made by E. C. Moulton
Pasadena. California. 1923
---------------------------------
(with similar monogram)
MOURTZINAS, DEMETRIOS
Worked at Athens, 1885.
MOUSE
London - probably a dealer who had violins made for him. Cheap affairs, common in appearance, indifferent woods and varnishes.
MOUSSET, JEAN BAPTISTE
Bow maker at Mirecourt, 1788. Good and refined workmanship. Stamped J. B. Mousset. 20, 1960.
MOUTON
Talented worker at Paris, 1875-1895. Employed by several large firms - seldom branded or labelled his name.
MOWBRAY, DAVID
Born at Melrose (Scotland), 1868. Made first violin in tenth year. Resident at Leith, 1890-1913. Cremonese models adroitly copied.
MOYA, HIDALGO
Trained at Mirecourt. Resident at Leicester. Stricken with a paralytic seizure of left arm and side, 1920. Went to California for two years - had another attack which affected the right side and throat. Died 1927. A sad curtailment at the zenith of career. Two models - Strad (1715) and Guarnerius (1737). Magnificent scroll carving. Purfiing of a delicacy and neatness surpassed by no other maker, ancient or modern. Made many experiments with varnish, especially directed to the solving of the problem of how to obtain a suitable tegument which should not spoil or in any way affect the tone already developed in the white violin. Method of procedure: firstly the wood was treated with a clear yellow stain, quite innocuous to the wood, and of a beautiful tint. Upon this yellow ground was laid the first coat of varnish (an oil preparation containing no colouring matter). The colour, a clear oil-pigment of various tints, was then applied. Three or four coats of the clear varnish were then laid on, and the rubbing down was in due course carried out in the customary manner. This all resulting in an appearance of transcendental splendour.
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Ad Modurn Joseph Guarnerius I.H.S. Cremona
Hidalgo Moya ad Gloriam Dei fecit
anno Domini 1918
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(with signature and monogram)
Other labels have Stradivarius on first line.
Author (in collaboration with Towry Piper) of Violin Tone and Violin Makers (Chatto & Windus, London) - very sensible remarks, original ideas, appealing to a players sensitiveness rather than to the academical knowledge of experts. Towry Piper (born 1859, died 1925), solicitor, amateur violinist, and a particularly expert connoisseur. Contributed very knowledgeable articles to the Strad Journal, 1911-1925.
MOYER, GUY H.
Born at Freeburg (Pa), 1893. Studied violin playing and became a soloist. Pupil of F. C. Williams of South Bend (Indiana) for violin making, also gained experience in Paris. Worked at Freeburg. Stradivarian and Guarnerian modelling, 70 instruments up to the year 1942. Experimented in varnish for several yeats. finally found one called welded varnish - Orange and red shades.
MOZ CASPAR GEORG
Born 1766. Worked at Wallersein (Bavaria). Died 1798. Modelling quite offensive to the eye. Impertinent ugliness attached to the sound-holes. Insignificant scroll. Rather nice wood and varnish. Tone difficult to release from its badly constructed prison.
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Caspar Moz. Geigenmacher
in Wallerstein. Anno 1791
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MOZZANI, G.
Principal of a Violin making School. Bologna, 1940.
MOZZANI. LUIGI
Born at Faenza, 1869. Played the oboe in various orchestras. Was a guitar virtuoso, 1900. Created astonishment with mandoline-tremolando effects done by finger nails. Went to Cento (Northern Italy), 1910. Set up an atelier for guitar making. Gradually expanded the business, and added bowed instruments to his activities. 1917. Resident at Bologna, 1927. Died 1943. Produced fine concert guitars on the Guadagnini principles. Also lyra-guitars in the style of the Schenk. Violins and cellos of far less consequence. They have all the characteristics belonging to what is usually known as trade instruments, some quite mediocre. Unprepossesing outline, flat shoulders, wide ribs, sound-holes utterly at variance with naturalness, exaggerated dipping at the front of scroll, very red varnish of common aspect, and strongly wooded. 80, 1960.
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Liuteria Italiana Luigi Mozzani
Cento Anna 1920
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(design of a lyre in centre)
MUCCHI, ANTONIO
Born 1800. Died 1883. Worked at Modena (Italy). Called Bastia. Pupil of Soliani. Copyist of Guarnerius, Guadagnini, Pressenda, Rocca and Stradivarius, each being marvellously imitated in wood and varnish. Workmanship reveals a very decided talent for neatness. Own modelled instruments have a yellow or yellow-brown varnish very successfully applied. 100, 1960.
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Antonio Mucchi
fabbricante di violini
Modena, 1863
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Antonius Mucchi
fecit Mutinae, 1881
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MUCHLJA
Worked at Moscow, 1925.
MLLER, CARL FERDINAND
Born at Solitude (near Riga), 1800. Amateur. Began violin making, 1867. Lived at Stuttgart, 1871. Died 1884. Genuine philanthropist, gave his violins, violas, and cellos to poor musicians.
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C. F. Mller
auf Solitude Unweit Riga, 1869
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MLLER, CARL JULES
Cellist in the Ebner Quartet at Munich, 1893. Resident and solo cellist at Augsburg, 1899-1933. Lutes, guitars, violins and cellos. Won silver medal at Nrnberg.
MLLER, CHRISTIAN FRIEDRICH
Worked at Neukirchen, 1825-1858. Made hundreds of cheap violins for traders, all thinly coated with a non-pretty varnish.
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Christian Friedrich Mller
Violinmacher in Neukirchen Ao. 1851
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MLLER, EMIL
Worked at Schneck. Very ordinary violins, hard and cold-looking yellow spirit varnish.
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Emil Mller
Schneck 1926
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MLLER, EMANUEL
Born at Zurich, 1904. Amateur. Lived in Japan, 1943. Resident at Uster, near Zurich, 1946. Exhibited a violin at The Hague Competition, 1949. Cremonese modelling, oil-spirit varnish. Returned to Japan 1954.
MLLER, GEORG
Worked at Regensburg (Bavaria), 1670-1690. Ordinary Amati outline, high arching, thin wood, long and compressed scroll, light brown varnish, without transparency. Small tone. 15.
MLLER, HEINRICH
Born 1906. Worked at Frankfort-on-Oder, 1931. Prisoner in Russia during the second world war. Established at Schneck, 1946. Excellent Cremonese modelling.
MLLER, JOSEF
Born 1850. Flautist, well-known in Bohemia, making brass and stringed instruments. Established own place, 1873, and soon had the assistance of several workmen. All kinds of instruments came from his rapidly expanding premises, but he specially attended to the violin department. Produced good copies of a Strad, Guarnerius or Stainer, at a guinea each. Experimented in varnish for tonal improvement also patented violins and cellos with double plates, won nine medals for the carrying power and roundness of tone. Sometimes used new pine wood, soaked it in flowing water in ordlr to fix or reserve the resin, thus the soft parts and the fibrous matter were united to a solid mass so that the whole plate vibrated uniformly. Also tried the process of soaking the top plate (for about four weeks) in lime water frequently renewed then dried in the air and sunlight. Cellos thus treated had a tone of extreme softness and purity. 80, 1960.
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Josef Mller. Schonbach b. Eger i Bhm:
K.K. ausschl: privilegierte
Musikinstrumenten & Saiten Fabrikation
--------------------------------------------------
Made serviceable pernambuco bows, various models. Firm carried on by his successor, Andreas Mller, 1925.
MLLER, KARL
Born 1893. Established at Markneukirchen, 1925. Excellent modelling of the Cremonese. Also lutes and guitars.
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Karl Mller
Markneukirchen, anno 1948
Copy of Jof, Guarnerius
-----------------------------------
(two monograms circled)
MLLER, OTTO
Worked at Stuttgart, and at Aix-la-Chapelle, 1906.
MLLER, PAUL RICHARD
Born 1872. Worked at Markneukirchen. Died 1946. Conscientious worker.
MULLINGS, DAVID C.
Born at Jamaica. Amateur. Resident at several places in the Honduras. Enthusiast who devoted leisure hours to constructing violins worth looking at.
MUMBY, ERNEST
Born 1888. Resident at Tottenham. Pupil of Whitmarsh. Good modelling with originalities in dimensions and scroll. Carefully chosen woods. Splendid tone.
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Ernest Mumby
London 1929
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MUNCHER, ROMEDEO
Born 1874. Pupil of Enrico Ceruti. Worked at Cremona. Died 1940. Smallish model of considerable originality, symmetrically and compactly made. Scroll delicately moulded and well rounded - graceful yet dignified. Attractive sound-holes. Chestnut-red or yellow transparent varnish. Also made many replicas of old Italian types. Several cellos and double basses. 150, 1960.
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Romedeo Muncher
di Cremona fece anno 1925
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(with signature)
MUNGER, JOSEPH
Worked at Waterbury (Conn.), 1882-1896.
MUNIER, F.
French factory type belonging to the customary ruts of the commonplace. Slab back, bright orange-red varnish.
Branded F. Munier F. Munier in the shape of an inverted V.
MUNIER, L.
Worked at Mirecourt and Paris, 1830-1845. Brown varnish, branded.
MUNRO, W.
Amateur at Dunfermline (Scotland). Violins of wide and long dimensions, indifferently cut sound-holes, robust scroll, sticky reddish-yellow varnish, and coarse tone.
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William Munro
Dunfermline, 1873
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(written)
MUNTER, ERIK VILHELM
Boot-maker at Strmsund (Sweden), 1900. Died 1943. Made several violins which won silver and golden medals for tonal brightness, and found purchasers in America.
MUNTYAN, SNDOR
Born 1903. Pupil of Pilt. Worked at Budapest, 1928. Splendid modelling of the Cremonese.
MURATORI, ROCCO
Double-bass of very individualistic design, in the Museum at Vienna.
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Rochus Muratoribus
Patavinus Delectans. Opus, 1704
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MURDOCH, ALEXANDER G.
Born at Glenbucket, 1815. Made first instruments at that place, 1852. Moved to Aberdeen, 1867. Died 1891. Early violins are feeble aspirings towards the sanctities of art design, and we may be assured that no genial or grateful response will be awakened. Coarse workmanship, uncouth outline and high arching, everything showing haste and an incompetent hand. Long sound-holes turned out like the shanks of the letter A. Edges of scroll conflict with any ideas of refinement. Commonest wood thinly covered with a bluish-grey spirit varnish. Tone of relative paucity in strength, and none of sweetness. Some later specimens of an Amati type have nicer modulatory curves and carry greater conviction of a reasonable quality of tone coming therefrom. Deep scooping runs beside the purfling. Smoother workmanship, but by no means flawless. Yellow or brown varnish fairly well managed. Tone of ordinary timbre. Productivity very prolific.
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Alex Murdoch
Aberdeen 1870
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Also branded Murdoch, Aberdeen, under the button.
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Alex Murdoch
Maker Aberdeen 1886
Breast made from St. Nicholas
Church Abdn.
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Sometimes not labelled. Name and date frequently written on the inside of back. Author of The Fiddle in Scotland (Ascherberg, London). Sketches of players and makers.
MURPHY, BARTHOLOMEW
Worked at Cork, 1780-1830.
MURPHY, DENIS
Worked at Dublin, 1831-1835.
MURPHY, JOHN
Violinist for Dances. Worked at Cork, 1820-1850.
MURRAY, ALEXANDER
Resident at Morpeth (Northumberland), 1840-1860. Fait number of carefully made violins.
MURRAY, DAVID
Born 1850. Violinist. Worked at Gorebridge. Fifty violins of Stradivarian and Guarnerian modelling, oil varnish.
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David Murray
Maker. Gorebridge, 1892
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MURRAY, JAMES
Born 1850. Employed by Railway Company as an engine driver, 1882. Early violins somewhat after the style of Alex Hardie, later, more Guarnerian, yellow oil varnish of poor texture.
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James Murray
Maker. Milldamhead, Dumfries
Oct. 15, 1897
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MURRAY, JOHN BROWN
Born 1849. Resident at Clarebrand, 1900. Stradivarian modelling of vigorous aspect. Workmanship has certain slight abruptness which may be easily pardoned. Edging raised into a nicely finished ridge. Sound-holes effectively positioned. Scroll less satisfactory. Purfling well done, and nice yellow oil varnish. Tonal quality frequently strong and clear, seldom of slow emission or spiritless.
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J. B. Murray
Clarebrand 1899
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MURRAY, PAUL R.
Worked at New Philadelphia (Ohio), 1920-1926.
MUSCHKE (MUSKA), JOHANN
Born at Iglau (Moravia), 1841. Pupil of Krampera. Set up at Frankfort, 1867. Pretty violins of subtle and well reasoned principles. Spirit and oil varnishes.
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1908 Johann Muschke, Geigenbauer
Frankfurt a M., Neue Zeil 26
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MUSCHIETTI, UMBERTO
Descendant of noble family. Born at Portogruaro (Venezia), 1875. Double-bass player of renown who concertised on a fine Santaguliana. Generally resident at Udine from 1918. Produced, up to year 1948, 160 violins, 18 violas, 8 cellos, and 2 double-basses. Won medals at Fiume, Rome, Padua, and Florence. Magnificent 5-stringed double-bass preserved at the Stradivari Museum, Cremona, a replica of his Santaguiliana. 165, 1960.
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Umberto Muschietti
-------------------------
(facsimile of signature)
Assisted by son Renzo (likewise a double-bass player) who has won several diplomas for personal construction of violins and cellos.
MUSCHL, J. J.
Born 1744. Worked at Prague until 1789, then went to Munich. Died 1800.
----------------------------
Johann Joseph Muschl
Fecit Praga Ao. 1775
----------------------------
----------------------------------
Johannes Josephus Muschel
me fecit Prag A 1779
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(decorative border, sloping italic lettering)
MUSIC
see MOUCHITCH.
MUSICIANS SUPPLY COMPANY
Several workrooms at Boston (U.S.A.), 1920. Violins combining all the critically desired points in tonal quality, design, and workmanship. Made of wonderful old wood. Breast, bass-bar, linings, sound-post and blocks from one of the earliest buildings put up by New England settlers. Back, sides, neck and scroll from old Colonial furniture maple, beautiful in texture, as handsome as anything from Europe. Also beautifully made bows for artists.
MUSIL, JOSEF
Born at Prachov (Czech), 1906. Worked at The Hague, 1931. Splendid modelling of Strad, Guarnerius, and other Italians. Oil varnish of different shades.
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J. Musil
----------
(written)
MUSNIER, JOSEPH
Worked at Metz, 1767-1800.
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Repar par Joseph Musnier Matre
Luthier Lenvi de la basse restant sur
la place darmes ct de la maison
de ville Metz 1789
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MUST, FREDERICK
Amateur at Shrewsbury, 1800. Amatese outline and Stainer arching. Poor yellowish-brown varnish.
MUSTANG
see L. PFRETZSCHNER.
MUTTI, VITTORIO
Born 1903. Resident at Castiglione (Mantua). First series of violins on theoretical principles opposed to the normal - one specimen having back and sides of one piece of wood, another had a bass bar of the same wood as that of back, and was applied to that part instead of being attached to belly. Subsequently studied with Schiavi and adopted classical methods. Produced 100 up to year 1949. Some have painted purfling. Excellent outline with arching (though fairly high) of proportionate elevation. Transparent varnish of walnut shade.
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Autore Mutti Vittorio
Castiglione delle Stiviere
Mantova 1949
Violino 93
-----------------------------
(written)
MUZIO
Amateur at Chieti (Italy). Very immature workmanship, backs generally of beech wood.
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M. Francesco di Muzio
La fatta questo violino
nell anno 1839 in Chieti
------------------------------
MUZZARELLI, DEMETRIO
Worked at Ospedaletto (Modena), 1880. Customary modelling of the unambitious, perfunctory workmanship. One might almost as soon expect an electric spark to be elicited from an uncharged battery, as to anticipate any healthy brilliance from these very ordinary productions.
MYERS, J. F.
Little known American maker.
--------------------------------
Made by
Joseph F. Myers
Lancaster. Pa. A.D. 1914
--------------------------------
MYLES, FRANCIS
Amateur at Cardiff, art. 1840. Instruments exposing the makers ineptitude for the art.
MYRN, KARL
Born 1883. Worked at Ostersund (Sweden). Pupil of Kjellin. Won silver medal at Stockholm, 1925. Produced a good number of excellently toned violins. Attractive yellow-brown varnish.
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Karl Myrn
Ostersund
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