VACCARI, R.
Born 1908. Studied with Sgarabotto. Established at Lentigione (Reggio Emilia), 1926. Won gold medal at Cremona, 1949. Various models: Strad, Guarneri, Amati and one very artistically combining the three. Sometimes oil varnish, occasionally spirit, both of beautiful aspect in golden orange or red shudes. 85, 1960.
---------------------------------------
Raphal Vaccari Lentigionensis
Cajetani Sgarabotto alumnus
Parmae. fecit Anno 19 . .
---------------------------------------

VACCARI-HARINO
Amateur at Turin, 1930. Pressenda model.

VACHIER, GALILEO
Born at Messina (Sicily), 1874. Worked at Catania, 1920.

VACHON, CHARLES BORROMIE
Born at Quebec (Canada). French parentage. Pupil of William Cundy at Washington. Established at Akron (Ohio), 1927. Produced first instrument 1910, and completed three or four yearly. Imitative faculties restricted to the two models mentioned on labels. Every essential point of the modelling and workmanship call forth no significant criticism. Ruby brown and light brown shades of varnish very judiciously applied. Free emanation of strong tone, also without purity being jeopardised. Several violinists of competent and unbiased judgment have gratified the maker by using them at concerts, etc.
------------------------------------
Model
Sainton Jos. Guarnerius 1734
C.B. Vachon 1926
Akron. Ohio. U.S.A.
------------------------------------
-------------------------
Model
The Alard Strad
C.B. Vachon, 1927
Akron, Ohio U.S.A.
-------------------------

VADMAN, A.
Amateur at Wela (Upland). Won medal at Stockholm, 1925, for some curiously shaped violins and guitars.

VADON, GZA
Born at Nyved (Hungary), 1884. Studied at the Varaday School of violin making, Budapest, 1926.

VAGLIERI, ARTURO
Born at Trieste, 1882. Architect. Produced first violin 1920. Strad or individualistic modelling, impeccable workmanship, oil varnish (with resinous base) of a darkish orange yellow shade.
----------------------
Vaglieri Arturo
feee-Trieste-1950
----------------------
(on parchment)
Also branded inside.

VAHLEFELD, JULIUS
Worked at Halver (Westphalia), 1908. Constructor of artist violins, built on new principles of harmonic attuning of plates. Instruments demanding consideration and recognition; undoubtedly mark an important advance in modernism.

VAILLAN, B.
Resident at Marseilles. Well constructed viol-da-gamba in the Blanchi Collection at Nice, flat back, sculptured head of a Moor, Renaissance inlay, rosette of ivory and ebony. Dark red varnish.

VAILLANT
Worked at Arras (France), 1830-1840. Ordinary modelling and non-transparent yellow brown varnish.

VAILLANT, FRANOIS
Worked at Paris, 1735-1783. Amati and Boquay styles amalgamated with slight innovations. Attractive model realised with medium arching, though one or two specimens have higher vaulting. Middle bouts artistically elongated. No discontent arises from a critical view of scroll and sound-holes. Deep yellow varnish of moderate quality.
----------------------
Franois Vaillant
rue de la Juiverie
Paris 1738
-----------------------
-----------------------------------
Franois Vaillant
rue N-D-de-bonne-nouvelle
Paris 1781.
------------------------------------
Name variously given as Vaillot and Vaillaut. 85, 1960.

VAILLANT, NICOLAS
Also known as Nicolas de Bordeaux. Born at Mirecourt. Established at Bordeaux, 1824. Died there 1887. Specialised in guitar making. Instruments exciting the interest of players concerned with the advanced technique now critically demanded. Violins and cellos bear his label but are not his personal work, Mirecourt being the place of production. Modelling pursues the usual large and rather heavy style. Well finished workmanship. Scroll particularly noteworthy. Reddish varnish, transparent and plentifully applied. Sonorous tonal quality full of future promise.

VAILLOT, F.
Worked at Paris, 1650-1670. Possibly the same as F. Vaillant though ante-dated 100 years, and if this hypothesis is correct, his work and style were most variable. Second-rate production.

VAINERT
see WAINERT.

VAJDA, AKOS
Born 1899. Worked at Budapest, 1930. Little known instruments.

VAJDA, A. IVAN
Born 1903. Resident at Novi Sad (Yugoslavia). Cremonese, Neapolitan and Tyrolean models. Ivan branded on belly.

VAJDAFFY, BLA
Born 1904. Studied at Markneukirchen and Vienna. Worked at Szolnok (Hungary), 1928; and at Baja, 1938.

VAKKERT
see WAKKERT.

VALENTI, GIUSEPPE DI VALENTINO
Resident at Lugo (Romagna), 1926. Good style of workmanship and fairly attractive varnish.

VALENTI, PIETRO
Worked at Rome, 1925. Few instruments seen in this country.

VALENTIN, RUDOLF
Born 1870. Began industrial life as a metal refiner and mechanic. Interested himself in violin building, made first attempts entirely from published diagrams and rules, and ultimately found his true vocation. Opened premises at Bellin, 1909. Produced many fine instruments which appeal to the eye from every point of view. Modelling pays a befitting tribute to the Cremonese and shows that the maker was inspired with a due sense of the greatness and glory of the art. Refined taste has superintended the applying of varnish. Impressively sonorous tonal quality highly commended by the best violinists in Berlin, 1925. 85, 1960.
--------------------------
Rudolf Valentin
Berlin
angefertigt Anno 19-
--------------------------
(written)

VALENTINI, ARTURO
Born 1865. Resident at Rimini. Died 1944. Excellent modelling, red varnish. Instruments signed inside.

VALENTINI, VALENTINO
Born at Orvieto, 1881. Sculptor. Resident at Rome. Produced 45 violins, 6 violas and 2 cellos, 1907-1934, then abandoned the art. Splendid modelling, generally in the style of Mariani (Pesaro). Spirit varnish of chestnut tint.
------------------------
Valentini Valentino
frcit in Roma-1934
------------------------
(on parchment)

VALENZANO, JOANNES MARIA
Born at Asti (Italy). Worked there from 1770; also at Naples, Padua and Trieste. Established at Barcelona, 1800, there known as Juan Valenzano. Resident at Valenza (Italy), 1804; and, finally, at Rome until 1825. Apparently a man of a wandering disposition, unless we assume that he failed to achieve prosperity owing to the general ineffectiveness of his work, and continually moved in the hope of bettering his prospects. Fluctuating modelling, of no distinctive school, but something of a Neapolitan-Milanese amalgamation. Early instruments show that he lacked qualities essential to the proper consummation of so critical and onerous a position as building violins to compete with some of his contemporaries. Implanted certain imperfections in the thicknesses of the wood which proved inimical to the free discharge of tone, disappointment, if not disaster, being the inevitable result. Want of confidence among his clients was engendered and the future result of his labours accurately prognosticated. Ultimately refrained from multiplying instances of error and mismanagement, saw the fallacy of his system and subsequently rectified his former blunders. Best instruments emanate from Valeuza and Rome. Flattish modelling generally, broad looking but actually of medium size. Some specimens of slightly higher arching. Ribs frequently shallow. Scrolls show earnest desire to attain greater cleanness and artistry. Sound-holes often too sloping and too susceptible to exaggerated curvatures to stand as vouchers for graceful proportions. Workmanship never truly refined, a fact particularly obvious in the purfling. Also often careless in using wide and uneven grained belly wood. Backs and ribs sometimes of very plain material. Yellowish varnish, either brown or red tinted, and of satisfactory intensliy. Tonal quality not strong nor very clear or bright but has a certain mellowness perhaps attractive to easy-going amateurs. 350, 1960.
-------------------------------------
Joannes Maria Valenzano
Astensis in Valentia fecit 1804
-------------------------------------
----------------------------------
Joannes Maria Valenzano
astensis in Roma fecit 1825
----------------------------------
--------------------------
Johannes Valenzano
in Barcelona, 1809
--------------------------

VALENZANO, PIETRO
Worked at Naples, 1810-1825. Mostly guitars, few violins.

VALLANCE, FREDERICK G.
Born at Nottingham. Became a good orchestral violinist. Several years leader of the orchestra on the liners plying between England and America. Also studied violin making in Northern Italy. Settled at Detroit, 1914, and received considerable recognition as an expert repairer and maker, as well as being a prominent member of the symphony orchestra. Individualistic modelling, seemingly a trifle narrower than a long Strad. Excellent design and solid workmanship though not especially refined. Some instruments varnished with a personal preparation of a dullish red brown tint, soft and often rather sticky, which he claimed as giving the special tone he was plincipally aiming at. Other specimens of a slightly broader design have a harder yellowish varnish. Branded F. G. Vallance. Also an expert bow maker.

VALLE
Worked at Mirecourt, 1860; and Versailles, 1870. Quite ordinary, some with crackled chestnut varnish. Branded Valle Paris.

VALLEJO, D. RAFAEL
Worked at Baza (Spain). Lute maker of considerable merit. Unique and prettily designed instruments embodying the essentials prescribed by true councils of art.
---------------------------------
D. Rafael Vallejo, me Lizo
en Baza. 1789
---------------------------------

VALLENTINE, WILLIAM
Worked in London. Died 1880. Specialised in three-sringed double basses.

VALLER
Worked at Marseilles and Aix, 1675-1700. Violins and small cellos. Ordinary modelling, reddish brown varnish, sometimes fanciful heads.

VALLETIANUS, JOANNES
Worked at Madrid, 1795-1805. Influenced by the French school, and performed the task of imitating a sort of Stradish-Guadagnini elegance with considerable discrimination. No sacrifice of dignity in pose of scroll. Proper feeling of artistry much manifested in the sound-holes. Varnish quite in accordance with the French style of application, also in its slight hardness. Tonal quality strong and particularly clear. Spohr possessed one of these instruments in 1828, and brought the name into prominence through publicly stating that he preferred it to his Stradivarius. 250, 1960.
------------------------------
Joannes Valletianus
fecit Matrito, anno 1799
------------------------------

VALLIER, SIFFRIN
Born at Avignon (France). Became distinguished as a clarinettist. Established himself at Le Havre, 1886, as a dealer and repairer of musical instruments. Moved to Rouen, 1900.

VALLINI, GIULIO
Worked at Cremona, 1750. Few seen.

VALLOTE, T. T.
Worked at Perpignan (France). Large modelling of Stradivarian outline. Body length, 14-1/4 inches. Wide across the middle, somewhat reminiscent of the Nicolas style - an affectation not altogether to be admired. Well-cut sound-holes though unnecessary width pervades them, consequently gracefulness is jeopardised. Largeness also manifested in his conception of a scroll which is boldness personified. Double edging on back of peg box, round the sides and through the middle. Usually wide grain belly wood of strong fibre. Yellow brown varnish, dull and sometimes cloudy. Tonal quality conspicuous for loudness without brilliance.
----------------------------------
T.T. Vallote
Place Labarie, Perpignan.
1829
----------------------------------
(written in imitation of copper-plate lettering)

VALLUSA, MARCELLO
Resident at San Zeno (Verona), 1937. Good workmanship.

VALOTTE
Born at Mirecourt. 1768. Worked at Moulins, 1800. Good French designs which virtually assure strong tone.

VALTRIN, JEAN JOSEPH
Worked at Mirecourt, 1740-1755. Little known work.

VANDAINI, P.
Born 1780. Worked at Bologna. Died 1846. Broad Strad modelling, deep ribs, belly wood of very close grain, backs generally of broadish flame, golden brown oil varnish with a tint of red, strong tonal quality easily responsive.
----------------------------
Pietro Vandaini
allievo del Varotti 1843
----------------------------

VAN DE GEEST, JACOB
Born at Rotterdam, 1899. Worked for Hart in London, 1921-1938. Established at Johannesburg, 1939, and soon became known as The wonderful Dutchman. Received laudatory notices from Carl Flesch and other virtuosi. Strad and Guarnerian models, irreproachable workmanship, varnish artistically applied. Assisted by son Jacob Jan (born 1924); similar style to that of father.
-----------------------------------------
Jacobus Jan van de Geest
Maker
London, W. 19 . . Johannesburg.
-----------------------------------------

VANDELLI, D.
High model, blunt corners, common brown varnish, third-rate factory affairs. Worked in Florence, 1813.

VANDELLI, GIOVANNI
Worked at Fiorano (Modena). Born 1796. Died 1839. Fair gracefulness of outline and arching. Scroll and sound-holes quite consonant with general contour. Nice wood agreeably varnished. Sonorous and bright tone. Instruments with genuine labels very scarce, much of his productivity being subjected to insertion of better known names.

VAN DER HEYDEN, EDGARD
Professor of the double bass at Brussels Conservatoire. Recipient of a prize 1888, for an innovated five-string double bass (made by Hautstont).

VANDERLINDEN, JAN
Worked at Antwerp, 1750-1760. Modelling wholly in Bavarian style. Design and workmanship not particularly fine. Long sound-holes. Brownish varnish.
---------------------------------------------
Joannes Vanderlinden tot Antwerpen
17-
---------------------------------------------

VAN DER LINGEN, C. W.
Dutch violinist. Played on a valuable instrument at all his concerts. Constructed more or less replicas and exhibited one at The Hague, 1949.

VANDERLIST
Worked at Paris, 1785-1799. Minutely copied the pattern of a Guadagnini. Also used similar varnish, a lovely deep orange red, and the relationship was so marked that several specimens have been disposed of as genuine productions of that celebrated Italian. Tone fully up to what may be expected from violins encircled by refined workmanship and accuracy in detail.
-----------------------------------------------------
Vanderlist, luthier, rue des Vieux-Augustius
prs de lՎgout de la rue Montmartre, Paris.
-----------------------------------------------------
Some labels have the first two words in lead. Sometimes unlabelled, but branded with name. 150, 1960.

VAN DER MEER, E.
Bow maker at Amsterdam, 1912. Superbly fashioned bows. Wood, strength and balance absolutely perfect. Magnificent head and sweep of stick. 10, 1960.

VAN DER MEER, KAREL
Born at The Hague, 1862. Worked at Amsterdam from 1889. Resident at Bussum, 1923. The most celebrated of modern Dutch makers. Generally Guarnerius style with slightly greater breadth. Everything of manly and unstudied naturalness. Sound-holes and scroll flow from the springs of artistry. Prettily figured old wood. Golden yellow or red varnish applied with the greatest of care. Tonal quality allows a parallel to be drawn with the best of the Italians. 250, 1960.
-------------------------------
Karel van der Meer
Luthier du Conservatoire
Amsterdam 1904
-------------------------------

VAN DER MERWE
Dutch General captured by the English in the Transvaal war, 1901. Made several violins and cellos in the style of old viols and gambas which were exhibited in London.

VAN DER MEULEN, ANTONIUS MATTHEUS CONRADUS
Born 1793. Died 1872. Established at sHertogenbosch (N. Brabant). Generally assumed that the instruments were made for him in German workshops.

VAN DER RAAY, HENRI
Born 1923. Studied the violin, also made one in 11th year. Resident at Antwerp. Produced several violins of pronounced flat modelling, splendid oil varnish, tone of easy response.

VAN DER SLAGHMEULEN, JAN BAPTIST
Worked at Antwerp, 1660-1700. Violins generally of Amatese outline and arching, but slightly Tyrolised. Skilful workmanship. Scroll avoids the stiff paralysis imparted to it by some Flemish craftsmen. Sound-holes rather widely opened. Pale brown, also dark brown, varnish of good texture fairly thick. Belly wood of very close grain splendidly straight. Purfling sometimes wide but always well done. Plentifully wooded and thicknesses soundly graduated. Tonal quality often slightly spiced with a kind of nasal sharpness which, however, may be regarded as stimulating the somewhat enervated roundness. Catalogued at 40, 1920. One specimen dated 1670 realised 500 dollars in New York, 1929. Violas somewhat more Brescian in character. Cello exhibited at Paris, 1878, with pale brown varnish, stumpy widely-opened sound-holes, scroll pierced and representing a carved head surmounted by a gilt crown and a thick band with gold design within the purfling on upper plate. 175, 1960.
---------------------------------------
Joannes Baptista van der Slagh
Meulen tot Antwerpen, 1670
---------------------------------------

VAN DER STAATEN, JACOB
Worked at Amsterdam, 1870-1882. Modelling altogether lacking in elevated ideas. Medium arching and warpcd ribs. Brown varnish, neither of attractive shade nor well applied.
--------------------------------
Jacobus van der Staaten
fecit in Amsterdam, 1872
--------------------------------

VAN DER SYDE, WILLEM
Worked at The Hague, 1685, and at Amsterdam, 1694-1710. Several early specimens seem studiously careful replicas of the Jacobs-Amati violins, but those of a later period have a marked individuality easily discerned by experts. Broad upper bouts, longish heavy corners, somewhat pronounced arching, breast usually quite flat between the elegant sound-holes (set close to wide purfling, generally of whalebone, and in harmony with well developed edges), scroll not particularly well carved, yellow or reddish brown varnish of no especial attraction, generally onepiece backs of fine flame. Whole broadish contour viewed by Dutchmen as being quite graceful, and as having a very responsive tone. 125, 1960.
------------------------------
Willem van der Syde
fecit sGravenhage 1691
------------------------------
-----------------------------
Willern van der Syde
Me fecit in Amsterdam
1702
-----------------------------

VANDERWIELE
Amateur. Resident at Ghent (Belgium), 1870-1890. Introduced several innovations concerning the attuning of the plates which never materialised as the experimentor anticipated.

VAN DORSON, ALVIN W.
Born in Ohio State, 1859. Established at Chicago. Died 1926. Made first instrument, 1874. Produced about two violins yearly, generally to special orders ranging from 100 to 1,000 dollars. Re-toned 700 instruments without recording a failure. Advertised himself as Maker of the Worlds Greatest Toned Violins. Invented formulas for scientific building of tonal power and beauty. Prepared his own varnish and gave it the title of Cremona super-excellent Varnish. Invented bass bars of the single and quadruple types in five grades and prophesied a more complete synchronisation of tone for all makers who would use them. Method of structure for violins: Thickness of belly plate not less than 3/32 inches around the edge of the cheeks, increasing to 1/8in. around the sound-hole area. Back plate not less than 5/32in. through its central portion to 5/16in., and occasionally to 3/8in., especially when desiring a massively sonorous tone. With either of these thicknesses through the sound-post area, he gave 3/32in. to the cheeks and around the edges in close conjunction with the ribs. When thicknesses of the top and back are less than these, the tone will be mushy and not penetrating, in fact of undesirable quality. The claims made by those who re-tone violins by thinning the cheeks to 1/16in. are not only absolutely erroneous and false, but destroy the life value of an instrument whether old or new. Violas: Top plate, 1/8in. as the least thickness in the cheeks, increased to 5/32in. around and through the sound-hole area. Back plate, the same in the cheeks, but 1/4in. to 3/8in, through the sound-post area according to strength of tone required. Cellos: Top plate, not less than 3/16in. in the cheeks and increased to 1/4in. through the sound-hole area. Back plate, not less than 3/16in. in the cheeks and 3/8in. to 1/2in. through the sound-post area.
All dimensions in conformity with his scientific bass bar system and not of the general type of modem instrument which requires a life-times playing to make it respond for the virtuoso. Designer of a new departure in stringed instruments, named Violinola. Five-stringed with compass of viola and violin. Violin length and viola width. Very long sweeping sound-holes, pronounced edging and grooving. Exhibited a violin made entirely of bass wood, 1925.
-------------------------
No 17
A. W. Van Dorston
Maker. Jan: 1911
-------------------------

VANK
see WANNEK.

VANGELISTI, PIER LORENZO
Worked at Florence, 1700-1746. Also known by the name of Pietro Evangelisti. Instruments which foreshadowed the style of Gabrielli, but have had a destiny less auspicious. Modelling never outstandingly elegant, neither is the workmanship especially refined. These slight constructive shortcomings are counter balanced by a very responsive and somewhat silvery tone. Best specimens (usually of his late period) of medium high arching, those of earlier date frequently inartistically bulged and compel the continuance of hostility and prejudice towards his productions. Well posed scroll but rather sketchy in execution. Sound-holes lack traits of controlled ingenuity, particularly in the rather sharply curved upper part. Golden brown Varnish of warm tint and satisfactorily transparent. One example dated 1742 realised 600 dollars in the U.S.A. in 1925. 250, 1960 (for best models).
---------------------------------
Pierre Lorenzo VangeListi
Fecit F: Ao. 1726
---------------------------------
---------------------------------
(written)
-----------------------------------
Pier Lorenzo Vangelisti
fece lAnno 1739 in Firenza

VAN GORP, J.
Born 1885. Studied at Markneukirchen. Worked at Tilburg (Holland). Neat copies of standard models. Branded J. Van Gorp. Tilburg.

VAN HESE
Worked at Gand (Belgium), 1816-1857. Mirecourtian style, brown varnish.

VAN HOOF
see HOOF.

VAN MUNSTER, ARENT
Fyolemaker at Amsterdam. Died 1677.

VAN ORNAM, VERNON W.
Amateur. Established at Omaha (Nebraska), 1960. Made several instruments. Received much helpful advice from Robert Alton of Birkenhead (England) (through correspondence), regarding the art, also his own formula of varnish. Published an article on sound-hole cutting in Lutherie, 1959.

VAN WELSENES, ANTONIJ
Worked at The Hague, 1840-1898. Few instruments. Highly esteemed for meticulous repairs.

VARADY, GYULA
Born at Sarosoroszi (Hungary), 1886. Studied at Mittenwald. Head of the violin making school at Budapest, 1922. Died 1929.

VARAGNOLO, FERRUCCIO
Born at Ogna (Padua), 1880. Worked at Venice, Milan and Paris. Became insane. Died 1916. Not uncommonly remarkable in design, nor particularly happy in outline curves. Rather high modelling, deeply grooved in waist area. Corners go to refined points. Scroll of fair execution but slightly vulgarised by a pronounced droop of fore-part. Sound-holes not captivating instances of masterly drawing. Excellent and nicely figured wood. Reddish brown varnish not deficient in transparency or consistency. Tonal quality more brilliant than mellow.
---------------------------------------
Varagnolo Ferruccio Veneziano
alunno di Leandro Bisiach
fece in Milano anno 1901.
---------------------------------------
Christian name sometimes given as Petruccius and surname as Varagoli.

VARNESS, ADOLPH
Resident at Dayton (Washington), 1910-1930.

VAROS, J. L.
Born at Phoenixville (U.S.A.), 1908. Hungarian parents. Resident at Lorain (Ohio), 1935. Strad outline and Sound-holes, arching and scroll somewhat individualistic, backs with undulating flame, cherry red varnish slightly shaded.
----------------------------
John Louis Varos
made in the year 1939
Lorain. Ohio.
----------------------------

VAROTTI, GIOVANNI
Worked at Argilo, 1786, and at Bologna, 1790-1825. Early dated instruments altogether more unique as curiosities in excessively high modelling than for anything else. Modelling (from 1792) somewhat reduced to a fairly full bodied impersonation of Stainer characteristics but often with bunched-up flattish shoulders, not at all conducive to ease of position shifting on the part of performers. Scroll generally small, and not wolked out with microscopic nicety. Sound-holes rather precipitous, sometimes invested with a reminiscence of the Andrea Guarneri. Ribs never deep. Often very fine wood, and unmistakeably splendid varnish. Tonal quality a trifle un-Italian in hardness, but lower register sonorous though not ideal. A few specimens known with Maggini-like scrolls and double purfling. 80, 1960.
---------------------------
Joannes Varotti fecit
Bononiae Anno 1790
---------------------------
(decorative border)

VAROTTI, PIETRO
Worked at Venice. Cherry red varnish of fine suppleness. Tonal quality deficient in freshness and brilliance. Academical modelling conceived ordinarily. 75, 1960.

VARROY-LAROCHE
Worked at Mirecourt, 1800. Ordinary large pattern of considerable attractiveness except sound-holes, yellow varnish of good texture, robust tone. Branded Varroy-Laroche.

VAR-VOIT, J.
Ordinary modelling with a few minor flaws, large sound-holes, clear but lustreless spirit varnish of brown shade.

VASALLO, GIOVANNI
Worked at Milan, 1840. Pupil of Grancino. Little known work.

VASITCH, NICHOLAS
Born in Yugoslavia, 1890. Pupil of Dvork at Prague. Worked at Petrograd, Shanghai, and in Manchukuo. Established at Baltimore, 1933. Strad and Guarnerian modelling endowed with the commanding dignity of the originals. Oil or balsam spirit varnishes, chiefly red, yellow or brown, splendidly shaded on replicas (his speciality). Prolific productivity of violins, violas and cellos.

VASVRY, ISTVN
Established at Arad (Roumania), 1887. Died 1894.

VATELOT, E.
Born 1925. Son and pupil of Marcel. Fine modelling of various standard types. Beautiful varnish of golden red shade. 90, 1960.
-------------------------------------------
Diplome dhonneur a la Haye 1949
Etienne Vatelot
A Paris. Anne 19. .
-------------------------------------------
(with monogram)

VATELOT, MARCEL
Born 1884. Great grandson of Blaise (well known violin maker at Mirecourt). Also known as Vatelot-Hekking. Served several years of apprenticeship with several Mirecourtian makers up to the year 1899. Went to Paris and worked for Marchand and for Brugre. Employed by Lt at Nantes, but returned to Paris, 1909. Luthier to the Ecole Normale de Musique, Paris, 1926. Modelling inspired by Cremonese art treasures. Generally dark red varnish. Untiring efforts united to judicious expansion of finely directed intellect have brought forth magnificent results. French violinists and amateurs profuse in their praise of the brilliantly sonorous tonal quality. Strad modelled cellos also highly praised.
------------------------------
Marcel Vatelot, Luthier
A Paris. Anne 1920
------------------------------
Signature under date. Inventor of a special preparation for manufacture of tested solo strings, patented under the name of Lustral. 150, 1960.

VATTIADA, GIUSEPPE
Resident at Tripani, 1920-1940. Known for good double basses. Also made violins and guitars.

VAUCHEL, JEAN CORNELIUS
Born near Offenbach, 1782. Son of a French political fugitive then resident in Germany, but who returned to Paris after the eruptive fever of the Revolution had died down. Placed in the workshop of Tourte, soon came under the dictum of that master, and after two years experience developed into a fully equipped craftsman. Worked at Wrzburg, Mayence, Mittenwald (with Reiter), Offenbach and Damm (near Aschaffenburg), where he died, 1856. Appointed maker to the Court of the Grand Duke of Tuscany. Recipient of highest awards at various exhibitions. Patronised by Paganini and Spohr, and regarded as one of the most astute old-instrument appraisers in Europe. Laboured long and assiduously to advance the interests of his art, and diligently applied his talent to producing the best at his command and not mere quantity. His superior instruments unquestionably follow Stradivarian principles, and everything confers gratification. No part of the design has anything belonging to embryo variety, but just the reverse - exquisite and perfect elegance. Tonal quality absolutely of Italian timbre. Some early dated specimens are too thin in wood, but he subsequently rectified this erroneous practice. Also made experiments in constructing violins with practically no arching. Problems of varnish and varnishing sometimes upset his equilibrium, and he made formulas of various kinds, tried extensive alcoholic adulteration, resinous substances etc., and during several years failed to arrive where his expectations portended, but ultimately discovered one of fine elasticity and consistency.
---------------------------------
Jean Vauchel dOffenbach
fecit 1851
---------------------------------
(sometimes neat upright caligraphy)

VAUGHAN, DAVID ROBERT
Resident at Chester, 1926. Excellent Strad modelling artistically varnished.

VAUGHAN, J.
Worked at Dublin, 1870-1896. Specimen catalogued at 10, 1925.

VAUS, W.
Resident at Hackney (London), 1926. Very limited productivity.

VAUTELINT, PIERRE
Worked at Paris, 1900-1910. Oil varnish, ordinary modelling.

VAUTRIN
Worked at Mirecourt, 1840. Principally cellos and double basses.

VAUTRIN, JOSEPH
Born at Mirecourt, 1875. Apprenticed to Chipot-Vuillaume in that town. Employed as principal workman in the atelier of Emile Germain at Paris. Established own premises at Mirecourt, 1898. Worked at Chaumont, 1900-1926. Instruments deserving of wide recognition. Modelling Stradivarian of elevated and refined conception. Large scroll but characterised by fascinating boss approach. Sound-holes well positioned. Reddish varnish merging into a brownish maroon. Good purfling. Tonal quality splendidly brilliant and clear which will breathe its true sonority fifty years hence. 95, 1960.
-------------------------------
Joseph Vautrin fecit
Chaumont anno 19- J.V.
-------------------------------

VVRA, JAN B.
Born 1870. Established at Smichov (Prague), 1925. Early instruments not executed in the most finished style. Tonal quality not commensurate with that required by first-class modern players. Later instruments of finer and more accurate dimensions, therefore, more desirable companions for artists.

VVRA, KAREL
Born 1903. Pupil of Uncle, Jan. Established at Prague, 1932. Excellent Strad or Guarnerian modelling, the latter being his favourite. All the little niceties of detail which invariably impress, are there. Golden brown or reddish brown varnish.
------------------------------
Karel Vvra
fecit Pragae. Anno 19. .
------------------------------
Design on left with two notes of music, A, D, with a lion on top of stave.

VECCHI, GRAZIO
Worked at Modena (Italy), 1880. Maker of Chamber basses of small dimensions.

VECCHIO, GIOVANNI
Known only as a repairer in Malta, 1864.

VECCHlO, QUESTO
Worked at Milan, 1805. Instruments to be commended to patrons of violin art as well as to actual players, as productions adding lustre to any collection, and conferring considerable prestige on the Italian school. General style greatly reminiscent of a Storioni. 275, 1960.

VECCHIO, TESTATOR IL
Lute maker at Milan, 1520-1560. Conjectured that he was the first to modify the viol into violin shape, and that Gasparo da Sal was indebted to him as a prototype. Surmised by writers of Dictionaries without evidence of such instruments.

VECTORIIS
see DARIO.

VEDRAL, JOSEF
Born at Paseky on the Isar (Bohemia), 1883. Went, in his 14th year, to his relative Patcka at Oostenrijk (Russia), and worked there until 1903. Spent two years in Germany and Italy. Settled at The Hague, 1905. Became principal repairer in that city. Favoured by patronage from Royalty. Perfect Stradivarian modelling, inspirations in the highest sense. Originality peeps forth from the well cut scroll, and there is nothing unduly obtrusive or untrue. Sound-holes drawn with conventional ideas yet avoiding the commonplace. Enlarged spirit of enterprise manifested in the application of his own varnish which has actuated him to the fulfilment of their highest functions. Responsive tone which will be warmed into real life during the passing of the years.
------------------------------
Joseph Joachim Vedral
Luthier
fecit s-Hage Anno 1911
------------------------------

VEGA COMPANY
Situated at Boston (U.S.A.), 1927. Master reproductions of Stradivarian models, made by experienced craftsmen inspired by the keen appreciation of Cremonese work. Seven grades, 50 to 300 dollars. Grade 7 especially fine in imitation, design, material and tone. Every detail absolutely true.

VEICHTNER, JOHANN GEORG
Worked at Regensburg (Bavaria), 1760. Conjectured that he profited by several visits to Cremona and other towns in Northern Italy. Amati-Klotz modelling subjected to the most critical attuning of plates. Tonal quality of no especial magnificence but of a quiet warmth never wearying. Many instruments lost their identity owing to the insertion of labels of better known names.
------------------------------------
Johann Georg Veichtner
Lauten-und Geigenmacher in
Regenspurg. Anno 1760.
------------------------------------
(German lettering)

VEINAR, ANTON
Worked at Horovic (Czechoslovakia) and Vienna, 1856-1860. Principally produced guitars. The few violins he completed pass before us as designs illumined with high aspirations. Everything retouched with refinement. Careful varnishing on wood of finest quality. handsome scroll and elegant sound-holes. Tonal quality most entertaining and suitable for drawing-room musical evenings. 85, 1960.
--------------------------------
Anton Veinar
fecit Viennae. Anno 1860
--------------------------------
--------------------------------
Anton Weinar
Geigen & Guitarmacher
Wien
Wieden Pressgasse No. 4.
--------------------------------

VEINAR, FRANZ
Son and pupil of Anton. Worked at Horovic and Kiev. Settled at Moscow, 1893.

VEITH, ALOIS
Worked at Glatz (Silesia), 1825-1838. Unreservedly ordinary, nevertheless of excellent tone.

VELVARSKY, HEINRICH
Worked at Kutna Hora (Bohemia), 1600-1624. Lutes, viols and a few violins.

VENEZIA, PROVINO
Worked at Crescentino (Piedmont), 1920. Excellent workmanship.

VENTAPANE, LORENZO
Worked at Naples, 1790-1843. Early productions sometimes follow Amati traits. Best specimens belong to the Gagliano style, though the flatness and breadth of upper part are occasionally exaggerated. Also copied the Stradivarian model less successfully. Some of the scrolls may be criticised for severity of pose. Sound-holes interestingly drawn. Purfling variable, sometimes careless as well as very steady. Went deeply into the internal organisation, where everything seems to have been critically analysed. Thicknesses of plates discriminately attended to, and generally unsparing in the use of material. One and two-piece backs always prettily marked. Belly wood of narrow fibre, occasionally of one piece. Orange yellow shade of varnish, with a slight brownish tint, of fine elasticity and consistency; also a few examples with a more reddish varnish. Tonal quality responsively brilliant, not of great volume but delightfully penetrative and fascinatingly clear. This applies to the Gagliano and Stradivarian types. Amati models much less valuable on account of smallness of tone though mellow. Several of his finest productions sold as genuine Gaglianos. Best period, 1800-1830. Later years were forced into the calculating commercial race and the struggle fettered his genius. Built a few fine toned cellos highly prized by connoisseurs and players. Modern makers would unquestionably benefit by studiously examining the splendid proportions. Some instruments ante-dated fifty years. 300, 1960.
------------------------------------------
Lorenzo Ventapane.
Fabbricante di Strumenti armonici
Strada Donnaregina No. 35
Napoli 1809
-------------------------------------------
-------------------------
Lorenzo Ventapane
Napoli 1760
-------------------------
(possibly not genuine)
--------------------------------------------
Lorenzo Ventapane
Fabbricante di Strumenti da Corde
Abita Calata Borgo di Loreto No 23
--------------------------------------------

VENTAPANE, PASQUALI
Probably son of the preceding. Worked at Naples, 1860-1870. Serviceable instruments of the Gagliano school, admirably modelled, much resembling those of Lorenzo, but less refined in workmanship. Boss of scroll protrudes inelegantly. Orange yellow varnish. Brilliant and cutting tonal quality. Especially famed for his cellos. 250, 1960. Cellos, 450.
---------------------------------------
Ventapane Pasquale
Fabricante di violini e violoncelli
via Speranzella No. 23 Napoli
----------------------------------------

VENTAPANE, VINCENZO
Worked at Naples, 1750-1800. Broad and flat modelling, beautifully proportioned on a large scale with certain Gagliano traits. Also produced a few of the grand Strad style, not altogether felicitous across the middle. Backs of beautifully flamed material. Golden orange and brownish yellow shades of vamish, both very bright. Belly wood selected with discrimination. Tonal quality refreshingly clear and rather brilliant. 350, 1960.

VENTURA, ANNIBALE
Worked at Viadana and Milan, 1735-1760. Splendid modelling and somewhat original. Wood of superb quality. Reddish brown varnish gratifyingly rich. Pleasing mellow tonal quality. Best work produced at Viadana. Those dated from Milan are dissimilar in several details. 275, 1960.

VENTURA, ANTONIO
Born 1910. Resident at Catone (Italy), 1939. Strad modelling, oil varnish. 95, 1960.

VENTURA, GIOVANNI
Worked at Parma, 1622. Instruments rather primitive in design and rugged in workmanship.

VENTURI, LENELLI
Worked at Venice, 1760-1770. Some specimens dated as made in 1590 and 1630. Generally assumed that no such person ever existed, but is an invented name.

VERBEECK, GISBERT
Born 1647. Pupil of Jacobs. Worked at Amsterdam, 1671-1715. High arching. 20, 1935.

VERBRUGGHE, FERDINAND
Resident at Ostend, 1852. Work unknown to the writer.

VERHASSELT, F.
Worked at Brussels, 1820-1850. Violins and cellos but principally guitars. Mirecourtian style.

VERHOEVEN, THOMAS
Worked at Utrecht, 1647-1678. Chiefly viol-da-gambas and a few double basses.

VERINI, ANDREA
Worked at Modena, 1884. Son of Serafino, and made similar instruments.

VERINI, SERAFINO
Born 1799. Died 1868 at Montebonello. Son of Bernardo. Fairly ordinary violins and cellos. 100. Cellos, 150, 1960.

VERLE, FRANCESCO
Worked at Padua, 1570-1600. Modelling not quite consistent with the otdinary artistry belonging to that very early period. High arching without beautiful graduation. Particularly narrow in the waist area. Small scroll treated with a certain dignity. Stumpy, widely cut sound-holes. Belly wood generally of medium grain, and backs not of especially fine flamed material. Brown varnish very effectively shaded.
--------------------
In Padova
Francesco Verle
--------------------
The Tyrolean appearance of these instruments has furnished conjectures that they were really made in that part of the world.

VERMEER, IMANUEL CORNELIUS
Born at The Hague, 1873. Viola player in symphony orchestra at Ble. Died 1915. Interesting fusion of details in Strad and Guarnerian modelling. Artists have praised the tone. Also several cellos similar.

VERMEER, JEAN
Born 1906. Son of preceding. Studied at Mittenwald. Worked at Chaux-de-Fonds and at Ble, 1934.

VERMESCH, LE PRE
French priest who worked from 1780 to 1810. Indifferent modelling very amateurish arching and proportions erroneously conceived. Sound-holes shaped and positioned without much reference to uniformity. Pale and muddy yellow varnish.

VERNON
Nephew of John Betts and served behind the counter at his establishment. After the death of his uncle, 1823, he set up his own premises and soon distributed violins bearing his name, although he had had no practical instructions from his relative.

VRON, ANTOINE
Worked at Paris, 1720-1750. Five-stringed viol preserved at Paris Conservatoire. Some violins bear a strong resemblance to Pierray.

VRON, PIERRE ANDRE
Worked at Paris, 1716-1752. Followed the then prevalent high arching of the early Italian master violins. Several slight deviations from artistic and fastidious judiciousness in workmanship and choice of wood. Cold looking brownish orange varnish thinly applied. Also thin tonal quality, but easily brought out.

VERONESI, CAMILLO
Worked at Bologna, 18-. Structurally solid but united to several ordinarities.

VERONESI, ENRICO
Born at Bologna, 1875. Violinist. Professor for thirty years at the Conservatorio, Udine. Constructed violins, 1912. Won gold medal, 1930. Established at birthplace, 1940. Splendid modelling and varnish.
--------------------
Enrico Veronesi
fece anno 1941
Bologna
--------------------
---------------------------------
Enrico Veronesi-Bolognese
fece anno 1932 Udine
---------------------------------

VERONICA, STEPHANI
Worked at Rome, 1740-1750. Structural arrangement attains little ground beyond mediocrity. Sometimes used belly wood of undulating grain so that, when the two pieces were joined, it has a strange appearance, something like the outline of the instrument. Warm rich brown oil varnish.
-------------------------
Stephanus Veronica
fecit Romae, 1743
-------------------------

VERPY, JEAN BAPTISTE
Worked at Mirecourt, 1767-1789, and later at Blois. Violins of rather obtrusive heavy build, wasteful expenditure of good material without achieving any element of grandeur, several details wrongly worked. Also produced bows of fair value.

VERZELLA, FRANCESCO
Worked at Naples, 1910-1920. Stradivarian and Amatese modelling. Medium sized neat scroll. Varying quality in wood, sometimes of uneven grain. Reddish brown and golden brown varnish not of real purity. Tone more sweet than powerful, though the latter is by no means altogether absent.
------------------------------------------------
Francesco Verzella
Fabbricante di Strumenti
Napoti Da Corda 1918
Largo S.Antoniello a Constantinopli 68
------------------------------------------------

VETSCH, JOSEF
Worked at Oberschnbach (Bohemia), 1870-1890. Average type violins.

VETTER (COUSIN), GEORG
Worked at Strassburg, 1665-1680. Cousin was the family name. Made many viols and few violins. Generally good workmanship but sometimes a deficiency occasioned by haste. Label inscribed in two languages, French and German.

VETTER (COUSIN), JOHANN CHRISTOPH
Born 1698. Died 1761. Violins, cellos, and double-basses, the latter especially, constructed with conscientious zeal plus expert knowledge.
---------------------------------------------------
Jean Christophe Cousin Strasbourg 1741
Johann Christoph Vetter in Strassburg
---------------------------------------------------

VETTORAZZO, GIOVANNI
Worked at Vicenza (Italy) 1790-1796. Double-basses of especially good wood and very few infirmities in workmanship.
-------------------------------
Giovanni Vettorazzo
fecit Vicenza. Anno 1793
-------------------------------

VETTORI, DARTO
Born at Firenzuolo (near Florence) 1903. Studied with Contavalli. Also a fine player, and member of the Benelli Quartet. Strad and Guarnerian modelling, golden-yellow and brownish-red varnish.

VETTRINI, BATTISTA
Worked in Brescia 1625-1630. Small pattern instruments, so deftly built as to immediately capture the assent of the viewer. No impatience in the application of fine quality yellow varnish. Magnificent wood. Backs especially attractive.

VETTRINI, CARLO
Worked at Brescia 1780. Modelling not of logical exactness or particularly attractive. Arching rather bulgy. Waist curves not pretty. Sound-holes placed too low and out of proportion. Brown varnish of reasonable transparency.
-------------------------
Carlo Vettrini Filius
Bresciae 1780. C.V.
-------------------------

VIAL, F.
Born 1876. Pupil of Hfner. Worked at Monaco 1902. Won gold medal for quartet of instruments, 1910. Stradivarian modelling with right degrees of emphasis and restraint, admirable purfling, happy results in varnishing, and tonal quality not lacking in carrying power.
---------------------------
Fait par Franois Vial
Luthier Monaco
annee 19 . . F. Vial
---------------------------

VIARD, NICOLAS
Worked at Versailles 1760-1790. Embodiments of Mirecourtian training. Very ordinary in every way. Several infringements in matters of delicacy. Poor quality varnish, cold and hard looking. A vigorous bowist would soon realise he was traversing a frozen field.

VICAJI, RUSTOM
Resident at Hampstead (London) 1911. Patented a discovery whereby freedom and brilliance of tone is vastly improved and transported beyond expectations. An internal tension relieving member such as a steel tube which abuts in a socket at the head end of the body, and passes freely through an aperture at the tail end, applied without opening the instrument, or even moving the soundpost.

VICENTINO
see CIPRIANO.

VICHNYGORSKY, ALEXANDRE SILVAIN
Born 1872. Died 1932. Established in Moscow 1890. Productivity - 189 violins, 20 violas.

VICTOIRE
Instruments made by Franz Tausend at Schiltigheim, Lower Rhine, 1910. Claimed to rival Strad.

VICTOR, T.
Bow maker at London 1900. Excellent bows which respond to the diversity of strokes necessary to first-class playing. 15, 1960.

VIDA, ANDREAS
Born 1899. Established at Budapest 1931. Conscientious workman, and attractive instruments.

VIDOUEZ, ALFRED
Born at Geneva 1879. Studied with Bazin at Mirecourt. Worked for Mougenot at Brussels, and Lon Bernardel at Paris. Established at birthplace 1900. Won gold medals at Berne and Lyons. Died 1943. Outline either Stradivarian or Guarnerian. Arching bears impress of a little originality. Sound-holes drawn with faultless precision, and not slavish copies of the Cremonese. Scroll also evades the almost inevitable replica of famous Italians. Every detail of the design shows perfect knowledge. First period instruments treated to a thick oil varnish of red-brown shade, later ones to a golden-yellow or reddish-orange, much less thick and consequently more supple. Tonal quality has a refreshing abundance of brilliance, clearness, and smoothness. 90, 1960.
--------------------------------------------------
Alfred Vidouez. Luthier du Conservatoire
Genve lan 1916
---------------------------------------------------
(with design of viotin scroll within a doubte-lined oval)
Author of a small brochure entitled Some Observations on my Work.

VTDOUEZ, PIERRE
Born at Geneva 1907. Son of A. Worked for Boulangeot (Lyons), also for Caressa (Paris). Succeeded father 1949. Recipient of gold and other medals at various exhibitions. Magnificent copies of old Cremonese models. Yellow-orange varnish. Also fine bows inspired by Tourte and Peccatte. 80; bows 20, 1960.
------------------------------------
Pierre Vidouez
Matre Luthier Genve P.V
lan 19 . . No.
------------------------------------

VIEDENHOFER, BERNARD
Worked at Pesth 1790-1812. Pupil of A. Hber. Much esteemed in Hungary. Very exact copying of a Guernerius or Maggini. Variable workmanship, sometimes quite splendidly neat, other times less so, though never wholly careless. Golden-brown varnish slightly tinged with red, also one of darker hue which is often crackled. Tone generally more powerful than truly sweet. 20, 1930.
-------------------------------------
Bernard Viedenhofer in Pesth
1791
-------------------------------------

VIELWEIB, ALOIS
Born 1756. Died 1821. Town musician at Burghausen (Germany). Emphatically amateurish in design and workmanship, though not without skill. Mittenwald prototype undisguised in outline, arching, and varnish.

VIERTEL, HOLM
Born at Zwickau 1865. Pupil of Paulus. Worked with Riechers at Berlin. Establislied at Markneukirchen 1888. Moved to Aachen (Germany) 1896. Died 1948. Bold fashioning on Stradivarian principles. Delightful and confident flight of outline. Scroll and sound-holes done without fear of mischance. Riechers spiritturpentine-oil varnish. Bass bar placed in after varnishing. Supposed to ameliorate tone of a new instrument.
--------------------------
Holm Viertel
Aachen - Anno 1902
--------------------------
Assisted by son Karl Georg (born 1894), and second son Walter (born 1902 - killed in the war, 1944).

VIGNALI, GIUSEPPE
Worked at Verucchio (Italy). Died in Spain 1919. Possessed all the resources of earnest and painstaking zeal. Aspired to the best and achieved much. Stradivarian modelling - beautiful varnish. 125, 1960.
------------------------
Guiseppe Vignali
da Verucchio 19 . .
------------------------

VIGNERON, A.
Stradivarian design and bold scroll. Normal type of French work. Nice looking red varnish.

VIGNERON, ANDR Born 1882. Son, pupil and successor of Joseph Arthur. Worked at 70 rue de Rome, Paris. Died 1924. Bow-maker. Similar in style and workmanship to that of father. Stamped Andr Vigneron, Paris. Made many bows known as the Lucien Capet Model with a wider heel than customary, and round chocolate coloured sticks. Capet was a famous French quartet player. 20, 1960.

VIGNERON, JOSEPH ARTHUR
Born at Mirecourt 1851. First guided in the art of bow making by Charles Husson. Worked for Gand and Bernardel. Established at Paris 1880. Died 1905. Whenever we take up one of these bows an involuntary exclamation of pleasure rises to our lips. A maker who decided on selecting the finest wood and worked it with loving care. Bows made by a man upon whom nature had bestowed a mind deeply sensitive of the beautiful, and highly cultivated by experience. Very elegant sticks with a fine and strong sway, and splendid heads. Few of the past French makers surpassed him in refinement. Produced two kinds, one rather heavy (generally octagon sticks), the other lighter - both of unique resistance, equilibrium and elasticity. Stamped A. Vigneron Paris. 30 to 45, 1960.

VIGNERON, LACOMBE
Modern French instruments. Fine flat modelling. Everything dexterously accomplished. Splendid orange-red varnish. 20, 1930.

VIKLUND
see WIKLUND.

VILONNI, ANGELO DE
Worked at Rome 1885-1915. Flat model, medium size scroll (occasionally rather heavy and clumsy), and neat sound-holes rather widely spaced. Fine grain belly wood and reddish-yellow varnish. Some backs inlaid. Fairly heavy purfling, somewhat irregular and wide. General measurements - body length 14-1/4 inches; upper bouts 6-3/4, middle 4-3/4, lower 8-1/4. 95, 1960.
--------------------------
Angelo de Vilonni
fecit in Romae 1900
No. 69
--------------------------
(bold lettering)

VILLAUME AND GIRON
Alexis Villaume born at Mirecourt 1766. Became a partner of Giron at Troyes, 1791. Died 1842. Violins of rather nice workmanship, flatly contradicting the race of complacent mouthers, who, without argument, illustration, or crroborative fact, go on wearying hearers with their inexhaustible talk about mediocrity of the old French school. Labels dated as though made 100 years prior to actual construction. Splendid value for 20. 95, 1960.
-----------------------
Villaume et Giron
Luthiers Troyes
1792
-----------------------
(decorative border)

VILLAUME, GUSTAVE EUGNE
Born at Mirecourt 1899. Pupil of Mougenot and Jacquent Gand. Wood, workmanship and general appearance eminently qualify this maker as highly successful in Guarnerian modelling. Oil varnish of clear yellow to dark reddish-brown.
------------------------------------
Mdaille dArgent
Mirecourt 1918. Anne 1927
Gustave Villaume No. 113
9, Place du March - Nancy
------------------------------------
(with signature across)

VIMERCATI, GASPARO
Worked at Milan 1770-1790. Lutes, guitars and mandolines of superb workmanship. In relation to the above, the violins are altogether of inferior class.

VIMERCATI, PAOLO
Son of Pietro. Worked at Brescia and Venice 1680-1710. Probably an assistant of Tononi, whose style he often imitated with fidelity. Considerable elegance about the tout ensemble, and though rather largely proportioned we cannot discern anything too spready. Very picturesque sctolls with no jutting promontory in region of the boss, and fine parallel fluting at the back. Also built instruments after a small model Amati. Yellow varnish treated artistically. 300, 1960.
------------------------------
Paolo Vimercati
fece in Venezia A 17 . .
------------------------------

VIMERCATI, PIETRO
Worked at Brescia and Venice 1640-1666, and Cremona 1667-1675. Traditionally assumed that Stainer worked with him at Venice. Early examples have Maggini characteristics, but unhappily over-arched to be graceful. Later specimens more Amatese in contour, but sometimes too narrow to be faithful representations. Sound-holes often rather ugly, small upper curve and a very extensive bottom one, with an absurd scoop in the middle of the stem. Old yellow varnish, but more often a very dark brown of unattractive aspect. Also produced cellos of seven-eighth size, Amatese model, brown varnish, body length 28 inches, mellow and responsive tone. 250, 1960.
--------------------------
Petrus Vimercati
fece Cremonae 1675
--------------------------

VINACCIA, ANTONIO (1)
Worked at Naples 1754-1781. Produced a few violins very minutely modelled after the style of a Gagliano. Several of them labelled as by Gagliano, and sold as such, so marked is the resemblance. Specialised in mandolines and guitars, backs gorgeously inlaid with ivory, mother o pearl, and tortoiseshell. Many preserved in the Museo Spagnuolo, Naples. 300, 1960.
-------------------------------------
Antonius Vinaccia fecit Neap:
In via Constantii, 1756
--------------------------------------
-----------------------------
Antonius Vinaccia fecit
Napoli 1769
-----------------------------

VINACCIA, ANTONIO (2)
Son of Gennaro. Worked at Naples 1763-1798. Inherited the abilities of father. Entertained high respect for the Gagliano model. Effective imitations, deficient in no one quality, and no step taken which diverges from refinement. Body length 13-7/8 inches; upper bouts 6-1/4; middle 4.3/16; lower 7-7/8. Medium arching finely graduated. One- and two-piece backs, sometimes handsome, others rather plain. Belly wood of various widths of vein. Frequently a small heart-shaped design inlaid with ebony at top and bottom of back. Light brown or golden brown shades of varnish. Tonal quality very clear and of agreeable mellow sonority. Also produced magnificent mandolines. 300, 1960.
---------------------------------------
Antonius Vinaccia
filius Januarii fecit Neapoli
alla Strada, Rua Catalana, 1770
---------------------------------------

VINACCIA, GAETANO
Son of Antonio (1). Worked at Naples 1779-1831. Stradivarian-Gagliano modelling, somewhat original in design. Particularly handsome wood. Rich golden amber varnish entirely covering the surface. Tonal quality smooth and brilliant. Also splendid productivity in cellos. Many ingeniously constructed mandolines and guitars, often richly decorated. 275; cellos 450, 1960.
------------------------------------------
Gaetano Vinaccia
Napoli Rua Catalana No 46. 1817
------------------------------------------
(large, with decorative border)
------------------------------
Gaietanus Vinaccia fecit
napoli 1795 Nella
Rua Catalana
------------------------------

VINACCIA, GENNARO
Son of Antonio (1). Worked at Naples 1755-1778. Distinguished himself from other members of the family by giving more attention to producing of violins and cellos than to mandolines. In support of this he placed a signboard over the doorway bearing the wording - Sub signo Cremona. Truthfulness of the Gagliano style awakens unstinted admiration, and may be nomenclatured as fine art. Altogether a pretty design of delightfully comfortable proportions. Also copied the Stradivarian long model with conspicuous success. Dark golden-yellow or brown varnish, very rich in hue, texture and brilliancy. Produced sumptuously decorated mandolines. Sometimes gave his name as Vinaccio. 325, 1960.
--------------------------------------------------
Januarius Vinaccia fecit Napoli
Sub Signo Cremonae anno Domini 1757
--------------------------------------------------

VINACCIA, GIOVANNI
Son of Gennaro. Worked at Naples 1762-1777. Principally made mandolines and lutes, many gorgeously elaborated with arabesques. Remarkably transparent varnish. Also produced a few violins and cellos. Sometimes ended his name with an o instead of an a. 250, 1960.
-----------------------------------------------
Joannes Vinaccio filius Januarii fecit
Neapoli alla Strada della Rua Catalana
A.D. 1770
-----------------------------------------------

VINACCIA, MARIANO
Son of Antonio (1). Worked at Naples 1790-1806. Made a very large number of mandolines and guitars. Produced a few violins of good design and workmanship. 200, 1960.
-------------------------------------------------
Marianus Vinaccia qu. Antonii
fecit anno 1792 in Via Constanti, no. 18
Neapoli
-------------------------------------------------

VINACCIA, NICOLA
Worked at Naples 1745-1780. Guitars and mandolines principally. Prompted to build a few somewhat Amatese violins, but there is little appertaining to them likely to bring them out of semi-oblivion.
--------------------------------------
Nicolaus Vinaccia fecit
Neapoli in Rua Catalana, 1756
--------------------------------------

VINACCIA, VINCENZO
Son of Gennaro. Worked at Naples 1769-1795. Attained great proficiency in modelling, by study and industry, aided by experienced precepts of father. Endowed with a little inventive power in his delineation of the Guarnerius model. Disregarded nothing to make an almost perfect contour. Incurred no liability, in treatment of scroll and sound-holes, of being accused of vulgarising or making them offensive to the true critic. Magical hue of varnish. Also produced mandolines and guitars with the usual decorative effects. Sometimes printed his name with an o at the end. 275, 1960.
--------------------------------------
Vincentius Vinaccia
filius Januarii
fecit Neapoli alla rue Catalana
A.D. 1775
--------------------------------------

VINCENT, ALFRED
Born 1877. Worked in London 1902. His great talent as a maker of violins was brought to public notice when one of his instruments won first prize in the Cobbett Competition. At that time (1923) he was first violinist at His Majestys Theatre, a position he held for many years. He made over 300 instruments, and just before his death in 1947, he completed a quartet of instruments which he bequeathed to the Royal Academy of Music. In 1929 he was acknowledged as the English Stradivari, some of his violins having actually been taken for Stradivaris. The late Albert Sammons once played upon a Vincent violin and a Strad in the Cobbett Competition, and the Strad took second place. Assisted by his brother. Beautiful workmanship, with golden-red varnish. In 1927 he was established in Great Pulteney Street, Piccadilly, London. Retired to Brighton, Sussex, where he died at the age of 70 years. i75, 1960.
---------------------
A. & H. Vincent
London, 1902
---------------------

VINCENT, DIONISIUS (DENIS)
Born at Mirecourt. Worked at Paris 1752. Viols and violins. No instruments well worked, or possessing a smooth tone.

VINCENZI, LUIGI
Born 1765. Worked at Capri (Italy). Died 1822. Thoroughly well-made instruments. Not many violins came from his very capable hands. Varnish of a light amber shade. Tone of excellent clarity and reasonable mellowness. More reputed for cellos and double-basses.
-----------------------
Aloysius Vincenzi
Carpensis 1811
----------------------

VINOTTI, G.
Born 1911. Pupil of Mozzani. Resident at Rovereto 1945. Strad and individualistic modelling - oil and spirit varnish of golden-yellow shade. Also constructed a few with inlay arabesques.
-----------------------------
7-4-48
Gesualdo Vinotti-Norni
fece 1948
-----------------------------
(with signature)

VIOLCETE
Possibly a name concocted by a dealer, or a name misread on a dirty label. Violins which bear Brescian rather than Cremonese character.
------------------------------
G. Giov. Casp. Violcete
Cremonen. Ann. 1655
------------------------------
(written and printed)

VIRCHI, GIROLAMO (HIERONYMUS) DI
Worked at Brescia 1550-1573. Friend and possibly teacher of Gasparo da Sal. Constantly aimed at the highest mark with his lutes and viols.
----------------------------------------
Hieronymus de Virchi in Brescia
----------------------------------------

VIRET, HENRI
Born at Chambry (Savoy) 1903. Established at Buenos Aires 1940. Laudatory notices from virtuosi. Splendid designs, Strad or Guarnerian, very refined workmanship, and most attractive oil varnish.
------------------------
Henri Viret
Buenos Aires 1943
------------------------
------------------------------------
Viret & LHumbert
632 Viamonte-Bs. Aires-195-
------------------------------------

VIRTUOSE
Magnificent variety of trade instruments, all bearing this name, manufactured at the factory of J. Thibouville Lamy & Co. at Mirecourt, 1920. Priced from 1 to 20 each. Copies of Cremona and old French models. Special attention given to belly thicknesses, capacity of bodies, and resonance of wood. Judicious selection of wood with important interior modifications result in an easy and full emission of tone, placing the instruments on a superior landing above the generality of new merchandise. Trade mark - the word Virtuose, design of a lyre, with violin lying across the foot, an eagle perched ambitiously on the fingerboard, and the letters J.T.L.

VIRZI, GIOVANNI
Born at Palermo 1886. Pupil of Rosario Virzi (father). Worked with brother Joscph at New York 1913. Established own workshop 1934. Early instruments of Stradivarian modelling, later ones more or less original. Oil varnish of own formula - golden-yellow and reddish-yellow shades. Instruments much appreciated for tonal breadth.

VIRZI, JOSEPH
Born near Palermo. Played the violin and clarinet. Made violins and guitars. Settled at New York 1913, assisted by brother Giovanni. Early dreamed of achieving something akin to the Cremona tone and ultimately conceived a tone producer - a non-complicated plurality of devices made of small strips of wood placed under the top plate, which develops and magnifies the tone, increases its carrying power, also renders it softer, clearer, and more limpid. Awarded gold medal at Rome 1923. Booklet issued by the makers 1926, contains certain facts not previously mentioned in books on violin construction, also gives full description of the Virzi violins.

VISCHI
Amateur at Spilamberto (Italy) 1880. Instructed by R. Fiorini. Good modelling nicely adorned with suitable varnish.

VISSENAIRE
Born at Mirecourt. Worked at Lyons 1823-1870. Made an enormous number of violins, cellos and guitars. Many of them bear impress of that perilous facility which a man endowed with natural gifts indulges in to meet the necessities of commercialism, but occasionally made instruments with the calm perseverance of infusing his own special ideas thereon, and came out triumphantly. 80; cellos 150, 1960.
---------------------------
Fait par Vissenaire
Ma. Luthier Lyon
Place Confort No. 16
---------------------------
Ma. abbreviation of Matre.

VISSENAIRE FRRES
Sons and successors of the preceding. Worked at Lyons 1850-1890. Elder brother gained much experience when working for Bernardel at Paris. Died 1878. Younger brother, Louis Nicolas, was violinist in the orchestra at the Grand Theatre, Lyons. Died 1890. Both appointed makers to the Conservatoire, 1872. Accurately proportioned instruments but trending towards heaviness. Excellent power and sonority of tone. Those made by Nicolas after brothers death have also much to commend, but he occasionally left them too thick in wood. The fastidious critic would have to use a microscope to detect a flaw in workmanship. 75, 1960.
----------------------------------------------
Vissenaire frres, Luthiers
Fournisseurs du Conservatoire
Place des Jacobins, Lyon, Lan 1873
----------------------------------------------
-----------------------------------------
Nicolas Vissenaire, Luthier
Place des Jacobins, Lyon, Lan
1873
-----------------------------------------

VISSER, J. A.
Born at Amsterdam 1885. Architect. Made first violin 1926, then became a professional. Thoroughly good workmanship. Tonal quality of that class which attracts quartet players. Golden-yellow or chestnut-brown varnish.
---------------
J. A. Visser
---------------
The Hague String Quartet played on four of his instruments at a concert in 1929.

VISTOLI, LUIGI
Born at Lugo (Romagna) 1890. Showed a happy passion from childhood for tools and woodcraft. Made several early attempts at violin construction. Placed himself under the guidance of Nicola Utili, and was encouraged to practice the art professionally. Instruments date from 1910. Exclusive adherence to the Stradivarian model. Everything of beautiful concordance. Workmanship dictated by sense, reason, and inherent artistry. Tone gradually amplifying in strength and clarity. Always interested in the mystery of the old varnish, and his own experiments in the subject were crowned with success. Critics of colour as well as technical experts testify to the beauty of this varnish and state that it merits comparison with any used by Stradivarius, Guarnerius, or Amati. Produced ten to a dozen instruments yearly. 100, 1960.
---------------------------------------------------
Luigi Vistoli
allievo di Utili Nicola da Castelbolognese
Fece in Lugo. 1922
----------------------------------------------------
(decorative border)

VITCEK, EUGEN
Established at Moscow 1908. Died 1943. Nephew and successor of Spidlen. Workshop faced the Conservatoire. Splendid outline and very slight arching. Stradivarian and Guarnerian modelling. Wood generally too thick. Produced 400 instruments. Very popular in Russia on account of their powerful tone.

VITCEK, FRANTISEK
Born 1854. Pupil of Metelka. Worked at Sklenrice-Glassersdorf (Bohemia) 1890-1920. Cherry-red varnish, fair workmanship.

VITALI, SALVATORE
Worked at Sn Paulo (Brazil) 1924. Instruments of flat pattern somewhat similar to those of Zanoli at Verona. Straight set sound-holes suggestive of the early Amati school. Constructed throughout with native material. Strong tonal quality, completely clear and round. 150, 1960.
-------------------
Salvatore Vitali
in S. Paulo
-------------------

VITANTONIO, VITO
Worked at Rotello (Italy) 1920. Died 1946. Recipient of medals for carefully made violins.

VITOR, PIETRO PAOLO DE
Worked at Brescia 1730-1750. Born at Venice. Fine large model of some Maggini characteristics but with exaggerated arching. Very nice workmanship. Small, short, and compressed scroll, offspring of novelty. Pale red oil varnish of rich quality. Also built violins of 7/8 size, body length 13-5/8 inches. Frequently high arching. Large, clear, and far-carrying tone. 175, 1960, (for better models).
---------------------------------
Petrus Paulus de Vitor
Venetus fecit Brixiae, 1738
----------------------------------

VITRY AIN Worked at Mirecourt 1810-1840. Large model, full arching rather deep excavating near neat edges - very prominent corners, ordinary wood, dark yellow varnish, strong tone. Branded Vitry ain, Mirecourt.

VIUDES, ANTONIO
Born at Crevillente (Spain) 1883. Son of Jos (well-known maker of guitars and lutes). Worked with Ramirez (Madrid) and at Paris. Established at Buenos Aires, 1901, and soon became famous throughout the Argentine. Many celebrated touring virtuosi praised the beautiful workmanship and remarkably full tone of his instruments.
-------------------------
Antonio Viudes
Luthier Madrid 19 -
-------------------------
--------------------
Construyo
Antonio Viudes
Buenos Aires
Ano 19 Num
--------------------

VIVENET
Worked at Landau (France) 1790-1820. Trained at Mirecourt. Modelling (Stradivarian) and workmanship not aimed at a high mark, and both stimulate the desire of avoiding them. Dark brown or cherry-red varnish, thick and lustreless. Vivenet Landau branded on back.

VLUMMENS, D. C.
Born at Antwerp 1885. Pupil of his father Isidor, a capable repairer. Worked for several firms in London. Set up for himself, 1926. Stradivarian and Guarnerian modelling not wanting in the higher qualities of artistry. Yellow and brown varnish. Achieved conspicuous success as a particularly skilful restorer. 80, 1960.
-----------------------------------
Dominicus Vlummens +
London 1927 D.V.
-----------------------------------

VOEL, E.
Worked at Mayence 1840-1855. Stradivarian outline and arching, good copying. Large and wide sound-holes, thoroughly German. Scroll and general workmanship excellent. Reddish-brown varnish of fair quality. 28, 1934.
---------------------------
E.Voel Geigenmacher
in Mainz. 1847
---------------------------

VOEL, JACOB
Worked at Mayence and Frankfort 1835-1845. Nice modelling in outline and arching, somewhat following the Stradivarian. Wide sound-holes, not artistic. Scroll rather well cut, purfling less satisfactory. Reddish-yellow or reddish-brown varnish.
-------------------
J. Voel
in Mainz. 1836
-------------------

VOGEL, MICHAEL
Worked at Nrnberg (Bavaria) 1750-1760. May excite a little enthusiasm on account of the Italian transparency of varnish.

VOGEL, VICTOR
Amateur. Russian State Officer at Riga, 1914. Produced 15 violins of careful modelling and attractive varnish.

VOGELHUBER, THOMAS
Worked at Kremsmnster (Germany), 1693-1732. Cabinet maker. Instruments he made are long since consigned to oblivion.

VOGL, ROMAN
Bow maker at Absroth (Bohemia), 1925. 10, 1960.

VOGLER, ANTON
Worked at Nrnberg, 1700-1710. Instruments typical of the Bavarian school. Desirable in tone and varnish.
---------------------------
Anton Vogler me fecit
Nrnberg. 1705.
---------------------------

VOGLER, JOHANN GEORG
Worked at Wrzburg (Bavaria), 1740-1756. Violinist and cellist. Father of the celebrated scientist, Abb Georg Joseph Vogler. Instruments exercising considerable influence over the many makers in his district. Those dated 1740 perhaps slightly heavy-looking, but he soon cast off certain fetters and from 1745 conceived a truly elegant medium high model. Belly wood of finest quality, medium grain, two-piece backs always of pretty material. Soft and rich red brown varnish applied with artistic zeal. Tonal quality generally well mellowed. 70, 1960.
--------------------------------
Joannes Georgius Vogler
me fecit Wirceburgi 1749
--------------------------------
(German lettering)

VOGT, ALBERT
Born 1845. Worked at Mannheim and Frankfort, 1890. Died 1907. Instruments of no especial merit. Brown varnish.

VOIGT
Worked at Quittenbach (Saxony), 1760. Instruments representing little beyond the ordinary productions of that country. Plainness of wood might be censured, but at any rate it is fairly good acoustically. Non-transparent varnish on a stained ground. Smooth tonal quality but small.
--------------------------------------------
Voigt, Violinmacher in Quiddenbach
--------------------------------------------
(written)

VOIGT, ADOLF
Born 1834. Died 1917. Worked at Siebenbrunn (Saxony). Principally a manufacturer of strings. Instruments bearing his name are cheap trade affairs made for him by others.

VOIGT, ALBIN F.
Son, pupil and successor of Charles A. Established at Philadelphia (U.S.A.), 1920-1926.

VOIGT, ARNOLD
Born at Markneukirchen, 1864. Pupil of Heberlein. Resident in London, 1885-1890. Established at Markneukirchen, 1890-1927. Very prolific productivity. Skilful copyist of the Cremonese, Stradivarian model in particular. Excellent adherence to true scientific rules. Had a clear and definite notion of what he was setting about, and produced instruments of all grades to meet the requirements of average players. Oil and spirit varnishes of own formula, the former thinly applied and generally of a yellow shade. Tonal quality rather hard but suits a violinist with a taste for almost unlimited volume. 60, 1960.
------------------
Arnold Voigt
London, 1889
------------------
(in ink)
-----------------------------------------
Arnold Voigt
Geigenbauer
Markneukirchen. Sachsen. 1905
------------------------------------------
Also an expert bow maker. Faithful representations of celebrated models worked with an artistic eye.

VOIGT, AUGUST ERNST
Born 1874. Worked at Markneukirchen.

VOIGT, AUGUST MORITZ
Born 1868. Worked at Wohlhausen (Saxony).

VOIGT, CARL HERMANN
Born at Markneukirchen, 1850. Began industrial life as a bow maker, and turned out many excellent specimens before 17th year. Went to Budapest, 1867, apprenticed to S. F. Nemessanyi for violin making. Worked for Kembck at Vienna. Established own workshop in the Nussdorferstrasse, Vienna, 1876. Appointed maker and repairer to the Viennese Court. Principal of the Austrian Guild of violin makers. Recipient of many exhibition medals. Consulted by the best connoisseurs, friendly with artists, scrupulous in dealing and magnificently expert in appraising old instruments. Died 1925. Built many copies of the Dolphin Strad, design and workmanship not outstripping his excellent powers of inner construction. No violation of artistry in the application of golden red varnish. Produced violas, cellos and double basses. Also bows of various degrees of excellence, generally dark sticks.

VOIGT, CHARLES A.
Established at Philadelphia, 1882. Died 1919.

VOIGT, CHRISTIAN HEINRICH
Born 1813. Died 1855. Worked at Markneukirchen. Sufficiently good modelling as to attract the attention of critics. Tonal quality reveals an unusual mellowness.

VOIGT, EMIL ROBERT
Born 1873. Established at Markneukirchen, 1927.

VOIGT, ERNST
Descendant of Adam Voigt (1699). Established as a violin and cello maker, also repairer and dealer for many years in London. Still working, 1960.

VOIGT, GEORGE ADAM
Son and pupil of Simeon. Born 1738. Died 1824. Worked at Markneukirchen. Correctly designed instruments of satisfactory workmanship. Nicely varnished. Tonal quality warm and mellow.

VOIGT, JOHANN ADAM
Born 1710. Worked at Markneukirchen, 1735.

VOIGT, JOHANN CARL WILHELM
Born 1779. Died 1857. Worked at Markneukirchen. Usually omitted Carl on his labels.

VOIGT, JOHANN CHRISTIAN (1)
Son and pupil of Johann Friedrich. Born 1766. Died 1846. Worked at Markneukirchen. Stainer outline and high arching realistically depicted without great refinement. Strongly built scroll. Dark brown varnish rather opaque, sometimes one of a light orange brown shade. Instruments labelled as though made at Prague.
----------------------------
Johann Christian Voigt
aus Prag. 1789
----------------------------
(indifferent caligraphy)
----------------------------
Johann Christian Voigt
in Neukirchen 1793
----------------------------
Used different brands.

VOIGT, JOHANN CHRISTIAN (2)
Born 1781. Worked at Markneukirchen. Died 1849.

VOIGT, JOHANN FRIEDRICH
Born 1732. Died 1818. Master in the Markneukirchen Guild, 1751. Produced very many violins of a sameness in design not devoid of certain attractions, but of ordinary tone. Also labelled as though emanating from Prague.

VOIGT, JOHANN GEORG (1)
Son and pupil of Johann Adam. Born 1748. Died 1802. Master in the Guild at Markneukirchen, 1769. Recognised as the best of the family. Solidly constructed instruments of fairly flat arching. Often one-piece backs of plain maple. Belly wood noticeable for its fine vein. Brown varnish of satisfactory hue. Tonal quality soft and pleasant. Suitable for amateurs.
-------------------------------------------------
Iohann Georg Voigt
Brobe Violinmacher in Neukirchen
bey Adorf in Voigtlande. Correspontent
Cremona 1798
-------------------------------------------------
Also branded I.G.V.

VOIGT, JOHANN GEORG (2)
Son of Simon. Born 1752. Died 1842. Worked at Markneukirchen. Made Stainer-like instruments, with medium arching, in young days. Later developed into a bow maker.
----------------------------------------
Iohann Georg Voigt
erfunden von Jacob Stainer in
Absam brobe ocnibuntum, 1775
----------------------------------------

VOIGT, JOHANN GEORG (3)
Born 1776. Died 1829. Worked at Markneukirchen. Gentle flat modelling of interesting design. Almost invariably pretty wood. Brownish shade of varnish. Nicely smooth tonal quality without brilliance.
-----------------------------------------
Johann Georg Voigt
Violinmacher in Neukirchen 1798
-----------------------------------------
(German lettering)

VOIGT, JOHANN HERMANN
Born 1874. Worked at Stuttgart, 1907. Died 1933. Good modelling and varnish. Succeeded by son Walter (born 1915).

VOIGT, MARTIN
Worked at Hamburg, 1720-1730. Viol-da-gambas in the style of Tielke.

VOIGT, PAUL
Born 1881. Pupil of Schmidt at Markneukirchen. Established at Manchester. Stradivarian and Guarnerian modelling; varnish of own formula. First-class workmanship. Dealer and repairer.
------------------------------
Paul Voigt. Manchester
Fecit anno 1906 +
P.V.
-----------------------------

VOIGT, PAUL
Son of preceding, and brother of Ernst. Established in Central London for many years as repairer and dealer. Still working, 1960.

VOIGT, SIMON
Born 1710. Died 1781. Worked at Marknuekirchen. Model of broad proportions and medium arching, sometimes bearing strong resemblance to the Hopf. Nothing uncouth about the scroll. No hasty or careless manipulation of the somewhat individualistic sound-holes. Embodied good application skill with the dark red brown varnish, occasionally one of a lighter brown. Fine, medium and wide grained belly wood, generally acoustically excellent. Frequently one-piece backs, sometimes of plain material and less frequently of a faintly broad marked figure. Suitable instruments for orchestral purposes.
----------------------------------
Simon Voigt, Violinmacher
in Neukirchen. Ao. 1770
----------------------------------

VOIGT, WERNER
Born 1911. Pupil of Reichel. Worked at Stuttgart. Director of the M.G. Voigt firm at Markneukirchen.
-----------------------
Werner Voigt
Geigenbaumeister
19 . .
----------------------
(with two small designs)

VOIGT, WILHELM
Son and pupil of Johann Georg (3). Born 1815. Died 1860. Worked at Markneukirchen. Violins, cellos and guitars.

VOIGT, WILHELM
Established at Remtengrn (Saxony), 1920. Violins, cellos, guitars, banjos and bows. Trade instruments at cheap prices.

VOIGT, WILHELM ALBIN
Born 1873. Worked at Markneukirchen. Died 1923.

VOIGT, WILHELM EDUARD (JUNR.)
Established at Markneukirchen, 1887. Usual commercial instruments of various grades. Business taken over by Otto Jacob.

VOIRIN, FILS, A.
Bows made at the establishment of Couesnon at Paris, 1925. Excellent sticks, best workmanship, responding to an oft-felt void and instinctive need. Silver and gold mounted. Stamped A. Voirin fils. 25 to 35, 1960.

VOIRIN, FRANCOIS NICOLAS
Born at Mirecourt, 1833. Trained in workshops there. Went to Paris, 1855 and worked fifteen years for Vuillaume, and during that period, made all the fine bows bearing the violin makers name. Won silver and gold medals at the Paris and Antwerp Exhibitions. Established own workshop in the Rue-du-Bouloi, 1870. Worked indefatigably until stricken down with apoplexy whilst taking a bow to a patron, 1885. He had the elevated and inspired theme of emulating Tourte, in refined workmanship and elegance, but made a new departure by making the heads less square and reducing the weight. These delicately worked heads have a marked thinning of the two faces, and to preserve balance, he reduced the diameter of the lower end of stick, which is sometimes actually smaller than the accompanying tip. Sometimes he exaggerated this head tenuity, arrived at too light a weight, which brought weakness after a few months playing. However, his finest specimens (just the thing for virtuosi) though refreshingly light, have wondrous heads affording equal wondrous elasticity of sticks. Works of art, decoratively and technically. Stamped: F. N. Voirin Paris, sometimes F. N. Voirin, and to this (on bows made for the Paris Exhibition), was added Exposition, 1878. Hundreds of imitations stamped Voirin have come from French and German factories. 30, 1960.

VOIRIN, JOSEPH
Brother of F.N. Born at Mirecourt, 1830. Worked for Gautrot at Chteau-Thierry near Paris; and at Paris, 1855-1867. Fine bows for bringing down the strongholds of fanciful bowings such as sautill and staccato, etc. Majority of specimens do not bear his stamp, consequently remains comparatively unknown. 25 to 30, 1960.

VOIRY, CHARLES PIERRE
Born 1887. Studied the art in various workshops at Mirecourt. Established at Toulouse, 1925. Cremonese models, very good workmanship; dark red oil varnish.

VOLANDO, PIETRO
Worked at Cremona, 1815-1820. Instruments inspired by the style of a Storioni. Imperfect scroll which does not seem to fit in with general contour of instrument. One-piece back of strong slab figure. Thick orange brown varnish. Rich tonal quality, full, clear and powerful.

VLKER, CARL AUGUST
Worked at Hannover, 1873-1918. Originally a clock maker. Became interested in violin building through seeing a viol of Duiffopruggar. Produced many replicas of celebrated Cremonese instruments, particularly favouring reproduction of the Stradivarius belonging to Joachim. Made prolonged studies in varnishes, experimented for 15 years, remained enthusiastic notwithstanding the inevitable disappointments attendant to the matter and ultimately achieved highest expectations with a formula which produced varnish absolutely equal to that of the Cremonese (according to his advertisements). Certainly one of remarkable plasticity and clearness of hue, full of life and fire, a plasticity having significant influence on the tone. An oil varnish containing no alcohol, and of a yellowish brown shade. Vlkers method of application : - Violins in the white should not be stained, but once uniformly coated with clear not-too-thin gum arabic. If this dries in 15 minutes, rubbing down is unnecessary. Some drops of this varnish on deck-plate of violin and fully distributed with the flat of the hand (for the scroll use a small hand brush), then rub with hand and finger. The varnish becomes quite dry after 24 hours, and may then have a second treatment. Several days must elapse before the third coat and similarly with the fourth, all this occupying about four weeks. Imitation of the old Cremona instruments now can take place. Ordinary rubbing down compounds are unsuitable. Pumice is not recommended, as it gets rubbed into the varnish which then loses its transparency. Diamantine (a special preparation of his own) solves the problem and is either applied dry with a cloth or, if a greater effect is required, moistened with water. Old violins may be washed with alcohol to remove all varnish, then re-varnished without gum arabic.
Vlker claimed that all violins so treated were transformed into tonal fairyland, fully equal to any Italian. Won the gold medal at the Bremen Exhibition, 1890.

VOLKIRK, LUDWIG
Worked at Mittenwald, 1820-1825. Pretty modelling. Scroll likewise. Workmanship very efficiently done. Reddish varnish (rubbed down to imitate extreme age) invites rational appreciation.

VOLKMANN, ALBERT
Established at Schnbach (Bohemia), 1906-1925. Specialist in double basses.

VOLKMANN, CHRISTOPH
Founded workshop at Schnbach (Bohemia), 1858. Gold medallist at the Eger Exhibition, 1892. Principally produced cellos and double basses, the latter especially received thoughtful attention and give us something worth having and thinking about. Violins of less consequence.
-------------------------------------------
Christoph Volkmann
Instrumentenmacher in Schnbach
1867
-------------------------------------------

VOLLER
William (born 1860) and two brothers, Charles and Arthur. Residents at Streatham (London), 1885-1927. Remarkable imitators of old Italian instruments. Perfect replicas of any model, exhibiting with matchless exactitude the skill and imagination of the renowned Vuillaume. Appearance of wear and age marvellously accomplished. Superior in every way and entirely without exaggerations of similar things emanating from German and French copyists Smallest details perfectly represented, and very skilfully finished. Instruments splendidly desirable as regards the picturesque, and certainly adequate for all requirements of first-class players. No strained postures of sound-holes or scrolls, everything singularly graceful. Finest wood carefully selected for its acoustic properties. The brothers claimed that the varnish (and its method of application) was their particular secret and that it had all the characteristics of the Italian suppleness and transparency. Violins catalogued at 20, 1930, violas at 25, cellos at 36, thus enabling the community to procure triumphs of art at comparatively small cost.
-----------------
Voller fratelli
Londra
-----------------
--------------------
Voller. London.
No. 312. 1887
--------------------
Many instruments have facsimile labels of model imitated. 80, 1960.

VOLPE, MARCO
Worked at Spilamberto (Italy), 1820-1839. Workmanship not especially distinctive though without serious blemish. Nice looking varnish apparently free from any deleterious mixtures.

VOLPIS, GIUSEPPE
Worked in Italy, 1850-1860. Nicely modelled in Gagliano style.

VOOGTE, J. C.
Worked at Amsterdam, 1720-1735. Rather dirty yellowish brown varnish. Style and workmanship not especially ambitious. Regarding the tone an outlay of 10 will produce a corresponding return.

VORERG, ALEXANDER
Worked at Eperjes, 1840-1850. Unwholesome affairs with no indications of anything other than slovenliness and inaptitude. Detestable dark and scratchy looking varnish. 5 would be a foolish speculation.

VOSGIEN, P.
Worked at Liege, 1820-1842. Stradivarian modelling of fair workmanship; reddish varnish.

VOSGIEN
Popular trade instruments made at the Thibouville Lamy Factory, Mirecourt. Name suggested by the Vosges Mountains wherein Mirecourt lies. Full title Le celebre Vosgien. Very cheap but well made merchandise. Lines substituted for purfling, brown or red shaded oriental varnish.

VOSS, ARTHUR
Born at Hamburg, 1886. Pupil of August Diehl. Worked at Lbeck, Magdeburg, Bremen and Altona. Spent eight years with Oswald Mckel at Berlin. Established own workshop at Charlottenburg (near Berlin), 1915. Considered, in 1925, the best restorer of historically old instruments and, in recognition of his knowledge and cleverness in this class of work, received the appointment of custodian of the Royal Collection of antique instruments. Especially skilful in the carving of fanciful heads, exact replicas of ancient prototypes. Also produced many new violins which have been accepted as solo instruments by some virtuosi. 90, 1960.
-------------------
Arthur Voss
19 fecit 17
Charlottenburg
-------------------
(oval)

VOYLE, BENJAMIN
Worked at Swansea (Wales), 1860-1870. Ordinary style and workmanship. Purfling occasionally irregular and varnish sometimes of uneven surface.

VRENZ, JOSEPH
Worked at Rotterdam, 1790-1795. Smooth workmanship, outside and inside. Excellent tone, nicely full and clear.

VRIES
see DE VRIES.

VRINT, PETER (2)
Son and successor of Peter (1) (Dutchman, worked in London, 1884-1898). Established many years in Charing Cross Road. Instruments rather representative of the Mirecourt type of large proportions. Especially wide from waist to waist. Splendid scroll, bold sound-holes, and everything the essence of robustness. Rather dull and hard varnish. Big tone, suitable for certain kinds of theatre work.
------------------
By P. Vrint
London. 1902
------------------
(written)
Patented Improvements for bows, 1905.

VUIDARD
Worked at Paris, 1835-1850. Pupil of N. Simoutre at Mirecourt. Specialised in guitars, but occasionally exercised his skill on violins.
-----------------------------
Fait par Vuidard
Luthier et md. de corde
rue Greneta No. 9
Paris
-----------------------------

VUILLAUME, CHARLES FRANOIS
Worked at Mirecourt, 1755-1779. Modelling of Amatese outline and medium arching. Good workmanship though without refined finish. Belly wood of medium vein spruce, generally two-piece backs of slight figure material. Orange red or brown varnish of convincing quality. Tonal quality decidedly mellow and responsive. 110, 1960.
----------------------
C. F. Vuillaume
Mirecourt 1769
----------------------
-------------------------------------------
Charles Francois Vuillaume, luthier
Mirecourt 1773
-------------------------------------------

VUILLAUME, CLAUDE
Worked at Mirecourt, 1625. The oldest known of this family. Achieved a fair reputation for lutes.

VUILLAUME, CLAUDE FRANOIS (1)
Born 1730. Worked at Mirecourt until 1780. Modelling entirely of Mirecourtian character of the period. Workmanship rather unfinished. Unsteady purfling and sound-holes not especially graceful. No atmosphere of dignity about the scroll. Instruments altogether failing to substantiate any claim to rank with the best of the French school. Rather dark varnish. Name branded. 80, 1960.

VUILLAUME, CLAUDE FRANOIS (2)
Son of Claude Franois (1). Born 1772. Died 1834. Worked at Mirecourt. Made cheap trade instruments of mongrel outline and arching, with atrociously cut sound-holes; of Stainerish type which he seldom labelled, but branded with his name only and which have proved fatal to his reputation.
-----------------------
Claude Vuillaume
Mirecourt
1820
-----------------------
He may have dreamed of violin glory but lacked the mind and deftness of hand to achieve it. Perhaps he did not care and was satisfied to earn a livelihood. At any rate, it saddens the spirit to think that here was a man who could have done so much more than producing scurried affairs for quick sale and who apparently had no personal pride in his productions. His four sons (including the subsequently famous Jean Baptiste) each received their tutorlage from him and made many instruments conjointly which are more acceptable specimens than his earlier ones. Branded Au Roi David, Paris on back.

VUILLAUME, JEAN
Supposed grandfather of Jean Baptiste. Worked in Mirecourt, 1710-1752. According to Ftis he made a journey to Cremona and was employed in the workshop of Stradivari. His work is only feebly tinged with Cremonese characteristics, nothing else but a bastard kind of imitation. Arching radically different and follows more closely that of the Maggini. Sound-holes indifferently cut. Narrow edges, painted purfling and primitive scroll. A small design in black runs round the body. Sickly looking quality of yellow varnish. Built six-stringed treble viols. Deep model with flat back sloping at shoulders. Light yellow varnish. Ink lines in place of purfling. Crescent-shaped sound-holes. Scroll instead of the usual fancy head.
-----------------------
Jean Vuillaume
de Mirecourt 1743
-----------------------
------------------------------------
Fait par may. Jean Vuillaume
Mirecourt 1738
------------------------------------
Other authorities claim that no such person as this Jean existed, and further state that information concerning him was supplied to Ftis by Jean Baptiste himself in order to make believe that he had descended from an old family of makers who had been trained at Cremona. Also affirmed that he put the above labels in a few old fiddles, thus further adding to the deception.

VUILLAU ME, JEAN BAPTISTE
Eldest son of Claude Francois (2). Born in Mirecourt, 1798. Worked with father until 19th year then, finding his genius somewhat hampered in the small town in the Vosges mountains, he turned his attention to reaching Paris. Worked two years with Francois Chanot, who led him into the more scientific atmosphere of violin making: Engaged by Lt, an organ builder who had a violin repairing establishment, 1821. Went into partnership with him, 1825, and opened premises in the Rue Croix-des-Petits Champs (a favourite quarter for fiddle makers), under the name of Lt and Vuillaume. Had frequent association with Pique (father-in-law of Lt) which had considerable influence upon the investigating mind of Jean Baptiste. Also established friendly relations with the renowned acoustician Savart, who helped to refine his talent by divulging many of the newly-found discoveries relating to so-called secrets of Cremona varnish. Severed partnership, 1828, and moved to No. 40 in the same street. Remained there over thirty years. First instruments built on normal lines, made carefully and solid looking, much in the style of contemporaries but they sold too slowly and for too small a price to suit this enterprising maker. He soon realised that amateurs and professionals eschewed modern instruments in favour of old Italian. He made a further close study of any Cremonese that lay to hand, and ultimately produced a wondrous facsimile of Stradivari violin (with its worn appearance, etc.) plus a label, for 12, and a cello for 20. Perfect imitations in modelling and varnish, also in liquid quality of tone to a lesser degree which he obtained by thinning the wood and impregnating it with violent acids and other artificialities. The fact that this would eventually destroy the fibres and weaken the resistance of tone did not penetrate the faculties of eager violinists. The flute-like, pleasant tone, easily responsive under the bow, gratified their sensibilities. Thus did Vuillaume set off on his road of masterly deception, and orders came thick and fast. Recipient of silver medals at the Paris Expositions of 1829 and 1834. Imitative work did not prevent continued research into the secrets of straight-forward construction based on Stradivarian perfection. No detailed analysis of master works went past his enthusiasm for critical investigation; quality and thickness of wood, arching, depth of ribs, various intricacies of inside work and peculiarities of varnish. Travelled throughout Switzerland, Tyrol and Silesia in search of old wood and old furniture of any kind. Produced many instruments constructively magnificent and plentifully wooded in all sections, awaiting time and usage to give mature tonal quality. Won two gold medals in Paris, 1839 and 1844. Made two quartets and gigantic octo-bass for the Worlds Fair in London, 1851, and received the grand Council Medal. Moved to larger premises in the Rue Demours-Ternes, 1860, and engaged an extensive staff of workmen. Success further signalised by the French Government awarding him the Legion of Honour ribbon, also decorated by Royal insignias of other countries.
Died at the zenith of universal admiration in 1875. Acknowledged to be the greatest technical genius of his time, though some of his dodges and subterfuges may be unpardonable. No Frenchman surpassed him except Lupot. Made many solidly built copies of the Tuscan and Messie Strads, one in particular numbered 1391. Produced so perfect a replica of Paganinis Guarnerius that the famous virtuoso could not distinguish one from the other until he played on them; twins, now resting beside each other in the Museum at Genoa. Made many other fine Guarnerian examples which differentiatc a good deal (except in outline), particularly in the sound-holes, scrolls and varnish. One, with a handsome one-piece back, magnificent scroll and red brown varnish, with the appearance of old age and wear wondrously produced, realised 2,500 dollars in Chicago, 1929. Also made some fine Lupot replicas when he worked for Lt. One made in 1820 belonged to Joachim in his youth (1846-1860), who sold it to his pupil Theodor Thomas, who took it to America when he became leader of the New York Symphony Orchestra. This was acquired by an amateur collector named Rosenbecker, 1870. Offered for sale at 1,000 dollars in 1925. Exquisite workmanship, very striking inlay and a rich tone of considerable volume. Made a Stradivarian model (No. 2599) for Remnyi (famous Hungarian virtuoso who lived a year or two at Paris before going on his world tour). Hungarian Arms emblazoned on back. Bought by David Laurie (Glasgow). Owned by a Mr. Hilton at Matlock Bridge, 1895. Also produced several Maggini models some with inlay designs on back. Highly appreciated in the United States. Many fine copies of the Brescian School have fanciful heads, inscriptions on the ribs and a painted design of St. Cecilia on the back. See under Duiffoprugcar for another remarkable demonstration of ingenious versatility. Some early instruments are delightful transcripts of a famous Amati violin inlaid with floral designs. In later years he built several violins of individualistic modelling based on combined attributes of Stradivarius, Guarnerius and Amati; varnished as new instruments. One hundred years hence they will rank as his finest productions. Several violas known, usually red brown varnish. General body length 16-1/4 inches, upper bouts, 7-3/8, lower, 8-1/2.
Introduced in 1855, a new model Viola (named contralto), broader and deeper in size; tried at the Brussels Conservatoire. This had a kind of violin tone, but twice as powerful as the ordinary viola. Players found it too difficult to play, consequently gained no favour. Specimen preserved at Paris Conservatoire. Also made five-stringed violas, which are now only regarded as curiosities. Some early cellos of Stradivarian design much sought for today, body length usually 29-1/8, inches, golden red varnish, frequently one-piece backs of picturesque flame. His varnish and the method he had of applying it was rather unique. Many subsequent Frenchmen (such as Derazey) copied it, but in a less effective style. Made a String Quartet (No. 2602-3-4-5) for Count Basil de Cheremetor, decorated (on the back) with the family crest, 1865. Beautiful reddish varnish. Also another quartet the same year, for Prince Caraman de Chimay, with the family Coat-of-Arms emblazoned. Chestnut brown varnish.
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J. B. Vuillaume No. 4
Chez N. A. Lt rue Pave-Saint-Sauveur No. 20
Paris 1823
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(sometimes written)
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Jean Baptiste Vuillaume a Paris
Rue Croix des Petits Champs
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(with B V double-circled)
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Jean Baptiste Vuillaume a Paris
3 Rue Demours-Ternes
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(with B V double-circled)
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Jean Baptiste Vuillaume Paris
3 Rue Demours-Ternes
1844
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(with B V double-circled and flourishing signature after date)
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Ste. Cecile des Thermes
Paris 1848. No. 398
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J. B. Vuillaume No. 21
Rue Croix des petits Champs No. 30
Paris 1829
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(written)
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Antonius Superios Cremonensis
Alumnus Joseph Guarnerius Anno 1797
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(in a violin made in 1858, one of his harmless inventions)
All instruments numbered - for example No. 2594, and 2689 in 1867. Kept a record of every instrument made by himself or his workmen. Pencilled his paraph on the inside of back, near right-hand upper corner.
Trade violins are numerous and did not come from his workshop, but manufactured since by Mirecourt firms.
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Vuillaume Paris
Rue Croix des petits champs 45
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Always undated, but good-class merchandise. Sometimes branded Vuillaume Paris at top of back. In early days he made many splendid bows, results of the frequent opportunities he had of seeing Tourte at work, but after he became famous as a maker and dealer of violins, he engaged a fine staff of bow makers (including Voirin and Peccatte) who produced all subsequent bows for him. These were all stamped Vuillaume. Of course, there are hundreds of bows similarly stamped which have been produced in Mirecourt but these are easily recognised by the less refined workmanship, very light chocolate coloured sticks, and often under the weight to adequately satisfy first-class players. He also invented a steel tubular bow which had considerable popularity for several years - stamped
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Vuillaume a Paris
Brevet dinvention
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Another invention was a chin-mute, a contrivance by which the players pressed their chins on the tailpiece, instead of placing a mute on the bridge.
In addition to numbering his instruments Vuillaume stamped them inside on the back, generally on the right-hand upper bouts with his name, similar to the one found on his bows. It is difficult to state with certainty all those luthiers who at one time or the other worked for Vuillaume, but we give the following list of those known:
Paul Bailly, Tlesphore-Amable Barb, Charles Buthod, Auguste Darte, Alexandre Delanoy, Jean Joseph Honor Derazey, George Gemnder Senr., Joseph Louis Germain, Charles Adolphe Maucotel, Maurice Mermillot, Ludwig Neuner, Hippolyte Silvestre, Charles Simonin, Nicolas Vuillaume, Nicolas Franois Vuillaume, etc.
It is also stated on good authority that Barbe made many of his instruments. Instruments branded St. Cecilia or back 250, personal work violins 400 to 500, cellos up to 500, 1960. Bows 15 to 25.

VUILLAUME, JOSEPH FRANOIS
Born 1804. Died 1856. First worked at Mirecourt, perfected himself at Paris, and finally settled at Lyons.

VUILLAUME, NICOLAS
Second son of Claude Franois (2). Born 1800. Died 1871. First worked with father at Mirecourt, afterwards in Paris with brother Jean Baptiste 1832-1841, and returned to Mirecourt 1842. Busied himself chiefly with production of superior class trade instruments, which were good enough in their way, and met requirements they were intended for - workmanship comparatively ordinary. For a long time they were favoured by many, and this popularity was scarcely even checked by disfavour of the few. However, the time came when they fell to scant approval, owing to other French productions superseding them, and ultimately became recognised only as second-rate affairs of small monetary value. Modelling generally of rather massive construction, sometimes a modified Stradivarian with considerable resemblance to the Lupot style, and occasionally one somewhat Guarnerian. Reddish varnish not especially supple. Often very handsome backs and good belly wood. Full and responsive tone without much smoothness, and quite serviceable as orchestral instruments. 20, 1920. From his rather prolific productivity several specimens stand out from the mass, and dealers run the price up accordingly, but not unfairly. Exhibited (1855) a class of instrument termed Stentor named after a herald of the Greeks in the Trojan war whose voice (as related by Homer) was as loud as that of fifty other men. Recipient of a bronze medal in recognition of certain slight constructive originalities. Tonal quality quite allied to the title. Shield placed on the back of scroll, with Stentor thereon.
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Nicolas Vuillaume
fecit a Mirecourt, anno 1830
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A cross and initials within a circle. Sometimes branded N. Vuillaume. Other times, in place of label, autographed N. Vuillaume. 65, 1960.

VUILLAUME, NICOLAS FRANOIS
Third son and pupil of Claude Franois (2). Born at Mirecourt 1802; and apprenticed in fathers workshop. Worked with brother J.B. at Paris until 1828; then settled at Brussels. Died 1876. Received silver medals for conscientious workmanship of instruments, at Brussels Exhibitions of 1835 and 1841. Appointed maker and repairer to Conservatoire. Exhibited instruments in London 1831, Paris 1855 and Dublin 1867, for which medals of the first class were awarded. Sent a quartet of instruments to the Vienna Exhibition 1873, and secured highest honours from the council. Success further rewarded by the Belgian Government when made a Chevalier de lOrdre de Lopold. Frequently travelled through Savoy and the Tyrol, also visited Italy in search of woods, and any valuable violins lying in obscure places. Intimate acquaintance of David Laurie (Scottish connoisseur) who described him as a man of middle height, broad and wellmade, having more the appearance of a Lowland Scot than a Frenchman. Produced many instruments of superb workmanship, creating much envy among Belgian makers. Stradivarian, Guarnerian, and Maggini modelling. Workmanship and style rather faithful to the influence of brothers precepts. Good edges, well margined. Excellent curvatures with graceful approach to corners. Some sound-holes pronouncedly Gothic, often quite long, and of a style difficult to determine. Varying scrolls, sometimes of classical proportions, and as frequently rather stiffish. Beautifully transparent reddish varnish on best specimens, rubbed down to represent wear and age. As yet the general public deny him his rightful place, but his fame is gradually speeding up, and he will eventually occupy a place beside Jean Baptiste. Unfortunately, this has been retarded by his occasional descent into the production of cheaper and a kind of commercial instrument for which he received 10. Purplish-mahogany shade of varnish doctored up etc., to look like genuine old age. Made several facsimiles of the Servais Strad cello which have received all possible commendation.
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N. F. Vuillaume, No 175
Luthier du Conservatoire Royal de Musique
Rue de lEveque No 30
N.F.V. Bruxelles. Lan 1884
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175 is the number of the instrument. Also produced many artistic bows. Generally round sticks of chocolate colour. Branded N.F. Vuillaume. Violins 125, Bows 12, 1960.

VUILLAUME, PRE
Medium arching with an ugly moat round the edges. Insignificantly small scroll. Belly wood often wavy - backs of slight figure. Precipitous sound-holes with atrociously deep notches. Reddish varnish, whole appearance worse than commonplace. Vuillaume pre d Paris printed in ink on the back where label is usually placed. Cheap Mirecourtian productions.

VUILLAUME, SBASTIEN
Born 1835. Worked at Paris. Died 1875. Last maker of this family. Awarded bronze and silver medals at Paris Exhibitions of 1867 and 1868. Generally wide proportioned patterns. Deep red varnish. Workmanship very diverse. The maker seems to have fallen into the meshes of contradictions, and never had the patience (or perhaps it was ill-health), to systematically adhere to the thoroughness and uniformity so necessary to retain a conspicuous position. He has not flagrantly abused any particular part, inside or out, but in general, was too invariable, consequently his instruments have never been greatly desired, though an occasional first-class specimen has been appreciated.
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Sbastien Vuillaume Paris
27 Boulevard Bonne Nouvelle
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Initials and a cross double-circled. Bows bring his name into better recognition. Similar to those of Jean Baptiste. Used the machine invented by his uncle. Violins 90, Bows 15.

VUILLEMIN, CLAUDE JOSEPH
Born at Poussay (Vosges) 1750. Worked at Mirecourt. Died 1833.

VYHNLEK (WINAHLEK), FRANZ
Worked at Hermannstadt (Roumania) 1895-1901, and later at Temesvr. Pupil of Schunda. Talented maker to whom homage has worthily been paid by his countrymen.