*W*
see WILKERSON.

WACHA, ALBERT
Worked at Pressburg (Hungary), 1820. Made violins of excellent workmanship. Tonal quality entirely suitable for soloists.

WACHTER, ANTON
Worked at Faulenbach (Bavaria), 1769-1772. Produced a large number of instruments more or less imitating the Cremonese models, which were supplied to dealers for a few pounds each. All bear strong Bavarian style, particularly in the somewhat Stainerish and rather upright sound-holes. Well matured belly wood. Pretty material for backs. Good scroll. Pleasant dark brown varnish. Sympathetic tonal quality.
----------------------------------------
Antoni Wachter, Geigenmacher
in Faulenbach bey Fssen, 1769
----------------------------------------
(German lettering)
Name sometimes given as Vachter.

WACHTER, FERDINAND
Worked at Augsburg (Bavaria), 1808-1815. Unanimously voted by connoisseurs as indifferent instruments. Somewhat fully proportioned pattern, deep ribs and unattractive arching. Often too thick in wood and careless graduation of plates. Bass bar and belly of one piece of wood. Orange yellow varnish.

WACHTER, LORENZ
Worked at Bonn and Mayence, 1750-1760. Violin and lute maker to Royalty. Few modifications from ordinary Tyrolese style. Arching somewhat pronounced. Workmanship carried out with fair skill. Yellow brown varnish, also one of darker shade reminiscent of the Tyrolese. Long sound-holes not enhancing the appearance of the whole.

WACKERL, AEGIDIUS
Worked at Mittenwald, 1757-1760. Pleasing modelling of Klotz school.

WACKERL, JOHANN
Worked at Mittenwald, 1755-1765. Brother of the preceding. Sensible handling of Klotz model.

WACKERL, JOHANN CHRYSOSTOMUS
Born 1757. Worked at Mittenwald, 1797. Son and pupil of Aegidius. Very fair representations of Italian style. Second Christian name usually omitted on labels.

WACKERL, JOSEPH
Worked at Mittenwald, 1785-1795. Produced a large number of instruments. Interesting workmanship though not of the greatest refinement.

WACKERL, MATTHEUS
Worked at Mittenwald, 1850-1860. Stradivarian principles interwoven with German ideas in excellent modelling. Red brown vamish of fair quality, sometimes crackled. Name inscribed with pencil on inner side of belly.

WADE, JOSEPH
Worked at Armley (Leeds), 1884-1901. Great were the exertions to which this maker was stimulated by no other feeling than a deep rooted love of his art. With unwearied activity he accomplished much, and not always for the sake of the commercial benefits which might thereby accrue to him. Produced well over 100 very splendidly made instruments for which he received uncomplimentary and meagre Prices of 15 and 20.

WAERN, AXEL
Swedish medical doctor. Won diploma for yellow-red violins, and a bow in 1948.

WAGENER, FRITZ
Born 1867. Pupil of Reinhold and Stterlin. Established at Bielitz (Silesia), 1891. Stradivarian modelling and spirit vamish. Made a peculiar innovation in the arrangement of bass bar, and was often praised by competent judges.

WAGNER, A. Y. LEVIEN
Established at Mexico, 1920.

WAGNER, BENEDICT
Worked at Drrwangen and later at Ellwangen (Swabia). Born 1720. Died 1796. Three models: (1) large and broad with high arching; (2) something similar to Italian prototypes with medium arching; (3) very flat arching and long body. Workmanship though not especially refined, has no really reprehensible blemishes. Short and straight sound-holes, set far apart and seemingly too near the edge. Scrolls generally sturdy in design, very broad and original, but give rise to a slight feeling of disapproval. Fine grain wood for belly and handsomely figured onepiece backs, scrolls of same material. Tonal quality of the high arched rather full, pleasing and nicely responsive, that of the flatter ones quite bright but often apt to be shrill and blatant. Three varnishes: yellowish brown, light orange red and dark red. 65, 1960.
------------------------------------------
Benedict Wagner, Hochfurstlicher
Hof-Lauten und Geigenmacher
in Ellwangen. anno 1764
------------------------------------------
(sometimes in centre of back)
Wagner branded on back. Ellwangen branded under tailpiece pin.

WAGNER, CHRISTIAN
Born 1690. Worked at Borstendorf (Saxony). Died 1771. Pupil of Hans Vogel. Indefatigable zeal brought along many praiseworthy instruments and he enjoyed esteemed patronage.

WAGNER, CHRISTIAN SALOMON
Worked at Medingen (near Lemberg), 1786-1800. Strong allegiance to the high built model. Workmanship and varnish point to carelessness or inexperience. Tubby and weak tonal quality.

WAGNER, DOMINIK CASPAR
Worked at Chioggia (Italy), 1725. Violins of original outline. Rare.

WAGNER, ERNESKA VICTOR
Worked at Lisbon. Died 1903. Assisted by his son Daniel. Died 1905. Business carried on by Hermann (brother of Daniel). First-named made many substantial instruments now maturing rapidly.

WAGNER, HENRI
Born at Paris, 1879. Distinguished violinist. Spent several years in pursuit of the reconstitution of Italian varnish and made a profound study of it. Announced himself (in1909) as the modern Stradivarius and discoverer of his varnish secrets. Engaged Macsick (magnificent violin virtuoso) to give recitals at Paris and other French cities to show off the wonderful tone of the reincarnated violins. Awarded gold medal at the Brussels Exhibition, 1910. We believe that the principles and varnish have never been lost, but that many violin makers have too long occupied themselves with copying without understanding or reasoning about them. Ostentatious verbiage of these principles is not wanted or believed; results only have true value. Wagners instruments (darkish red varnish) have nol, nor can possibly have, the ethereal tonal quality of the old Cremonese, but has certainly imparted a tone remarkably silvery, of refreshing responsiveness, clear and substantial. 85, 1960.
------------------------------------------------------------
Exposition de Bruxelles 1910 - Mdaille dArgent
Fait le. . . . . . . . avec les principes et le
Vernis de lantique cole de Crmone.
Retrouvs par
H. Wagner. 52 Rue de Rome, Paris.
------------------------------------------------------------
Collaborated with Delprato, 1925, after which all instruments were signed Wagner and Delprato.

WAGNER, HERMANN
Modern French instruments. Stradivarian model, golden amber varnish.

WAGNER, JOHANN
Born 1703. Worked at Borstendorf. Died 1762. Brother and pupil of Christian. Fair modelling but lustreless varnish. Excellent tone wood. Viols show slightly superior design and workmanship.

WAGNER, JOSEF
Worked at Munich, 1730. Instruments not always labelled with his name.

WAGNER, JOSEPH
Born 1729. Worked at Constanz (Baden). Died 1781. Some specimens remind of the Tyrol school, others have Amati characteristics. Outline delicately edged, sound-holes fairly attractive and neat purfling. Workmanship indicates thorough capability. Wood chosen with a complete understanding of what is wanted. Scrolls always cut from pear wood, on this account recognition of his work is comparatively easy even when unscrupulous dealers replace the label by one that makes more of a song.
-------------------------------
Me Fecit Joseph Wagner
Constantiae 1768
-------------------------------

WAGNER, SEBASTIAN
Brother of Joseph. Worked at Meersburg-a-B, 1788-1807. Modelling distinctly of Mittenwald character. Workmanship not especially inviting. Short sound-holes of Stainer type. Scroll somewhat heavy; generally of pear wood. Brownish yellow varnish of fair quality. Tonal quality a trifle hard. Name branded on back; Mrsburg also branded on under rib.

WAGNER, SIEGFRIED
Born 1916. Resident at Antwerp, 1936. Repairer to the Conservatoire. Well modelled violins, very transparent oil varnish of golden yellow shade.

WAGNER, XAVER
Son, pupil and successor of Benedict. Worked at Ellwangen, 1800-1822. Flattish pattern, very strongly built. Backs and ribs generally of rather plain figure. Thick reddish varnish. Excellent tonal quality, fairly strong and far-carrying.

WAGNER AND GEORGE
Established at Chicago, 1898-1926. Franz Wagner, born at Constanz (Germany). Pupil of Hammig at Stuttgart. Worked at New York and Toronto. Carl H. George, born at Hamburg. Makers of violins, cellos and bows.
-------------------------
Wagner and George
fecit 1920 Chicago
-------------------------
(with monogram)

WAHL, EUGEN
Born at Heilbronn (Germany), 1877. Practised wood carving. Went as town missionary to Carisruhe. Also a capable violinist. Became interested in violin construction. Produced first instrument in 1908. Knowledge of wood, good violin literature, and examination of many instruments helped him along rapidly. Opened workshop, 1910, energetically turned his attention to repairing and making, and soon brought an influential clientele around him. Three models: Stradivarian, Guarnerian and his own. Graceful designs and, refined workmanship. Serenity of pose given to sound-holes and scroll. Acoustlcally good wood and especially prettily figured. Spirit and oil varnishes skilfully applied. Top and bottom plates attuned according to own system. 80, 1960.
-----------------------------
Op
Eugen Wahl
fec Karlsruhe. B. 1910
-----------------------------
(bearing trade mark)

WAHLBERG, LEIF Born 1915. Resident at Stockholm.

WAHLSTRM, HENRIK
Born 1882. Resident at Strgns (Sweden). Strad outline, Guarnerian sound-holes, splendid scroll, golden yellow or reddish brown varnish.

WAINERT, ANTON
Born in Bohemia. Worked at Warsaw, 1805-1820. Name also spelt as Weinert and Vainert. Extraordinarily fine modelling and crystalline delicacy in workmanship. Rich varnish delightfully shaded.
--------------------------
Fecit Antoni Wainert
Instrument-macher
in Warschau. 1806
--------------------------
Other labels in Polish lettering, name commencing with V. Made pretty guitars which often were extremely popular.

WAKE, HARRY SEBASTIAN
Born at Newcastle-on-Tyne, 1900. Son of a concert violinist who was a collector and connoisseur of old instruments. Being associated with the work of the old masters since early childhood, he soon showed an aptitude and considerable skill at repairing and restoring under the guidance of his father. Experimented with varnishes in collaboration with the senior member and developed an orange red oil varnish of good consistency which he applied generously on his violins; the earlier instruments being labelled Wake & Son. Later, an Italian version of his name, Vigilia was used. Went to America, 1921, studied cello and mechanical engineering at Philadelphia where he resided for almost 30 years. Produced about 20 violins of a modified Strad pattern, good resonance and tonal quality, well selected wood, masterful finish. An accomplished cellist and prodigious worker. San Diego, California (1960), having a fine collection of old instruments. Makes violins and guitars there, and enjoys an enviable reputation as connoisseur and restorer of old instruments. Each important instrument that comes into his possession he photographs in full colour, some important collections having been made available to him. To date, over 100 violins have been photographed and are being prepared for eventual publication in book form.

WKERLE, LORENZ
Worked at Mittenwald, 1800-1805. Excellent modelling of the Bavarian school. Abominably dirty varnish.

WAKKERT (VAKKERT), GEORG
Worked at Mittenwald, 1831. Nicely arched design and graceful scroll. Surprisingly good varnish of brownish shade.

WALCH, G.
Established at Radebeul (near Dresden), 1925. Produced Stradivarian model violins at 3 each. Believed that the old masters had no secret in violin making, a fact demonstrated by the large number of their moderately sounding instruments which, like most modern products miss the complete suppleness, brilliance, easy speech and good carrying power of tone, and that the exquisite beauty of tone of some of the old master instruments result solely from the good unimpeded ability to vibrate, this being achieved by centuries of playing, whilst the nonuniformity in elasticity of the vibrating parts, originally present, has thereby been gradually eliminated. Claimed that his instruments, on the contrary, in the unplayed state, possessed a soft, fully brilliant easily responsive penetrating tone, and that he achieved this success by his mechanical process (a secret guarded for many years) of increasing the elasticity of the plates. Apart from the usual stringed instruments he supplied a novelty called Baritone or cello-violine, built in same form and size as a viola, and tuned an octave below the violin. This instrument has a baritone sound and one of great beauty and power. Any violinist can immediately play it from violin or cello music, both for solo or ensemble work. It can also be played, with the appropriate strings, as a violin or a viola,, thus affording a four-fold purpose. The inventor has given suitable internal construction to this viola-like novelty, so as to give the necessary reduction of material the required deep baritone sound. This was not easy, for every viola player knows how often the bottom C sounds thin. Tone naturally not so strong as a thorough-going cello, but it is at least more mobile in rapid passages and double-stopping. Trade sign: a violin surrounded by a floral wreath and the Latin legend: Viva in silvis - fui dura occisa securi; Dum vixi tacui - mortua dulce cano. (See Duiffoprugcar.)

WALDANER, F.
Worked at Fssen (Bavaria), 1770-1813. Splendid copyist of Cremona instruments, also the Stainer model. Undeniably superior to other Fssen makers. Strongly built yet possessing a soothing quality of tone. Few genuine labels remain. Several specimens re-ticketed with Amati and other names. 85, 1960.

WALDRON, HUGH H.
Amateur. Resident at Froid (Montana, U.S.A.) Made first instrument, 1936. Dolphin-Strad modelling. No weak spots in general set-up. Fine oil varnish of red shaded to golden red. Warm tone with rapid response.

WALKER, CLARENCE
Worked in London, 1855. Went to America, 1865. Fairly nice models.

WALKER, HECTOR M.
Resident at Liverpool, 1925. Amateur maker of fair talent.

WALKER, HENRY
Born 1876. Resident at Stoke-on-Trent, 1910. Pleasing model with a touch of originality.

WALKER, HENRY J.
Worked at Whitby (Yorkshire), 1890-1905. Cremona modelling, mostly Stradivarian. Connoisseurs have expressed a good opinion of the scientific procedure applied to these instruments. Most painstaking care devoted to every detail, no item likely to help an emission approximating to the Italian has been neglected. Wood of great age and of finest acoustical properties. 70, 1960.

WALKER, JOHN
Born 1876. Died 1958. Resident at Solihull (near Birmingham). Adroit modelling, 40 violins made up to year 1948. Splendid amber oil varnish. Tone equal to any contemporary.
--------------------------
John Walker
Solihull, Birmingham
Fecit anno 1951
--------------------------

WALKER, JOHN
Lived at Martley (Worcestershire). Cellos of mediocre modelling and untutored workmanship. Dark varnish of wretched quality on very good wood. Village enthusiast who apparently satisfied the locals.
------------------
John Walker
Martley, 1837
------------------

WALKER, WILLIAM
Hairdresser and tobacconist at Mid Calder (Scotland), 1920. Resident at Broxburn, 1928. Born 1859. Practically self-taught. Produced over 150 instruments on Stradivarian and Guarnerian models. Style and workmanship deservedly appreciated, quite equal to professional handicraft. Orange red, dark orange red, ruddy brown and ruby shades of varnish, much varying in quality. Succeeded in arriving at a decidedly satisfactory tone.
----------------------------
William Walker. Fecit
Broxburn. Anno 1929
----------------------------

WALL, ROBERT FREDERICK
Born 1882. Lived at Chiswick (London) and was a violinist in cinemas. Went to Jersey (Channel Islands), 1940. Strad model, good workmanship. Golden yellow and red brown varnish. Only made a few instruments.

WALLACE, ROBERT NICHOLAS
Born 1904 at Ellis County (Texas). Inherited a flair for wood-work from his grandfather who made beautiful coffins. Commenced making violins in 1952 and up to 1960 has made 46, half of which have inlaid designs. Extremely clever and delicate work, some violins having up to 2,000 different pieces of inlay. Nearly all of maple wood in several different types secured from all over the world. Strad and Guarnerius modelling. All inlays are made before the violins are glued together. Went to Arizona in 1930 and was established fourteen years at Gilbert. Many well known Western fiddlers play on his instruments. All inlay work is done free hand. There is no template because of the violins curvature. Actually, a railroad worker, all instruments are made in spare time. Gained great recognition and esteem from many countries where his violins have been exhibited. Complete works of art in every detail. Removed to Miama (Arizona), 1960, where he is still making instruments at present time.

WALLACE, ROBERT WAYNE
Born 1934 at Hardiman County (Texas). Son and pupil of above. Electronic engineer by profession. Similar instruments to father.

WALLER, ALFRED
Born 1891. Established at Minneapolis, 1935. Strad and Guarnerian modelling. Good workmanship. Reddish oil varnish.

WALLER, BENEDIKT
Worked at Amberg (Bavaria), 1880-1885. Mittenwald style and brown varnish.

WALLIN, JOHAN R.
Born 1874. Resident at Hova (Sweden). Little known work.

WALLMAN, KARL DAVID
Born 1897. Amateur at Bors (Sweden). Good workmanship.

WALLO, JOHN JOSEPH
Born 1889 at Lalit (Hungary). Made first instrument in his 9th year and soon received orders from local players. Went to U.S.A., 1906, and started orchestras in Detroit and Flint. Recommenced making violins in 1915, Stainer model, and was later assisted by sons Joseph and Paul. Models labelled as Wallo Flat (Strad) and High (Stainer), but bouts less rounded. American maple, spruce, beech and red wood. Oil and spirit varnishes, dark red to light yellow. Had to cease work owing to ill-health, 1932.

WALLIOSTRO
Bows made for Wallis & Co., London, 1920. Stamped with name.

WALTER, JOSEPH A.
Born 1902 in New York (U.S.A.) Resident at Montclair, New Jersey. Studied violin and violin making under Adrian Primrose, a European artist. Most of his training and knowledge acquired through close contact with reputable violin makers in this country. Commenced making violins in 1918 and up to 1959 completed 31 violins and 2 violas. Choicest quality wood, Strad and Guarnerius models. Nice varnish of oil, golden amber shade, sometimes red. Given many public exhibitions and lectures on the art of violin making. Considered one of Americas finest craftsmen.
------------------------
Made by
Joseph A. Walter
Montclair, N.J. 19
------------------------
(printed; decorative border and illustration of nymph with lyre on left)

WALTHER, JEAN BAPTISTE
Worked at The Hague, 1726-1735. Highly arched instruments. Good targets for the prickly arrows of criticism.

WALTON, WILLIAM
Born at Longton, near Preston (Lancashire), 1860. Retired stationmaster. Selftaught in violin making by study of all obtainable literature on construction and tone. First instrument dated 1887. Ultimately became a professional maker. Original modelling, outline favouring the Stradivarius, Guarnerius brought in for the arching, and Amati signalised in the scroll. Workmanship details all carefully attended to; sound-holes slightly wider than usual at lower part of stem just previous to the turn. Purfling accurately executed. Vigorous looking scrolls masterly carved. Well seasoned wood and an excellent amber oil varnish of own composition, red or brown shades with yellow ground. Tonal quality thoroughly reliable in strength, clarity, equality and quick responsiveness.
----------------------
William Walton
Maker
Longton, Preston.
A.D. 1900 No 12.
----------------------
(brownish paper)
Also made bows but never stamped them with his name. 45, 1960.

WAMBSLER, MICHAEL
Worked at Mittenwald, 1772. Tyrolese style. Moderately good workmanship.

WAMSLEY, PETER
Worked in London, 1715-1751. Chiefly copied the Stainer pattern but occasionally turned his attention to the Stradivarian. His reputation (great in his day) has suffered in consequence of his deplorable and reprehensible practice of thinning the wood, and using the various chemicals for artificially tone-ageing his instruments, consequently the tone is now weak and hollow instead of being healthy and strong. We are the more sorry to have to deprecate his sactifice of posterity to the fleeting present of popularity, because his workmanship at times was so extraordinarily good and the model has the essence of gracefulness (though several specimens are indifferently proportioned in having slovenly cut and ugly-straight sound-holes). Three varnishes: a brilliantly thick dark red, a yellow brown of poor quality, and a reddish brown, the latter generally reserved for best instruments. Invariably prettily marked material for backs. Frequently traced ink lines round the instruments rather than be bothered with inlaying. These almost diseased and inwardly ruined violins seldom realise a good price. Made guitar shaped violins and rather valuable viols. Cellos highly prized because they are substantially built. Double basses also brought forth his best skill; splendid red varnish. Violins, 60; cellos, 100, 1960.
---------------------------------------
Made by Peter Wamsley
at ye Golden Harp in Pickadilly
London
1727
---------------------------------------
(incuriously uneven type)
--------------------------------
Peter Wamsley
Maker at the Harp
and Hautboy in Picadilly.
17 London 51
--------------------------------
Some instruments bear Stainer labels.

WANDINGE, CARL JOHN LUDWIG
Born at Copenhagen, 1777. Decorative wood-turner. Worked at Vordingborg, 1821, and at Naestved, 1832. Died 1848. Gave much time to violin construction but never passed the dilettante stage. Apparently considered strength to be of primary importance since he provided each bass bar with two cross bars. Also gave the backs a particularly thick spinal column.
-------------------------
Reparert
af Wandinge
i Wordingborg 1830
--------------------------

WANGENHEIM, VON
Ridingmaster at Gotha (Thuringia), 1830-1840. Enthusiastically tried to partially imitate the Chanot model. Branded E.L.v W.fec 1838.

WANKE, CARL
Instrument maker at Brnn (Moravia), 1816-1827. Tyrolian modelling, dark red varnish. 20, 1928.

WANNEK, (VANEK)
Worked at Bucharest (Roumania), 1875-1890.

WANNER, MICHAEL
Worked at Mittenwald (Bavaria), 1850-1860. Modelling and workmanship especially good. Superior to any contemporary in that town. No exaggerated arching, no weak-looking scroll as though haunted by a sense of the precariousness of its elevation, and a most pleasant varnish, all offering anticipations of a really warm tonal quality.
-------------------------------
Michael Wanner
Geigenmacher
Mittenwald. Oberbayern
-------------------------------
(beautifully artistic border, German lettering)

WARD
Worked at Warrington (Lancashire), 1827. Instruments carrying hints of nice workmanship. Quality of tone sweet and soothing.

WARD, GEORGE
Worked at Dublin, 1710-1750. A maker of undoubted ability. Several instruments quite superior to those of Perry. Original model with perhaps a slight infusion of the Stradivarian. Very handsome wood and beautiful varnish. Specimen preserved at Dublin Museum.
------------------------
Made by
George Ward
In Angelsey Street
17 Dublin 19
------------------------

WARD, JOHN EDWARD
Born at Hobart (Tasmania), 1891. Solo cellist; toured North and South America, also Europe. Retired from the profession and took up violin making. Resident at Sydney (Australia), 1925. Stradivarian model, orange red oil varnish.
------------------------------
John Edward Ward
Sydney. Australia. 1928
------------------------------
(written)

WARDE, WILLIAM
Worked in London, 1860-1870. Amati model, roughish workmanship, good wood and oil varnish.

WARDLAW, RICHARD
Worked at Cardiff, 1890-1900. Style and workmanship of an amateur of average ability.

WAREHAM, H. F.
Resident at Hornsey (London), 1923. Maker of the Patonzi-Cremona violins. Usually light amber to golden yellow and dark orange varnish occasionally brown.

Patonzi-Cremona

Discoverer of improvements relative to violins, by means of which he produced tonal qualities equal to that of instruments made 100 years previously.

WARNECKE, L. GEORGES
Worked at Nancy (France), 1819-1832. Rather original style, workmanship indicates thorough capability. Branded his curious monogram between feet of bridge.

WARNER, JOSEPH
Resident at Boston (U.S.A.), 1924. Advocate of the Horvath formula.

WARNER, MERRITT
Student at the Bretch School of violin making. Resident at Elmore (Minnesota), 1927.

WARRICK, A.
Born 1863. Best pupil of Chanot at Manchester. Worked at Leeds from 1889. Various models but principally Stradivarian and Guarnerian. Expert designing and masterly workmanship. Varnish of own preparation four shades, yellow, reddish yellow, brownish red and ruby. Won gold medal at Leeds Exhibition, 1895.
-------------------------
A. Warrick
Elve de Chanot
No 36. Leeds. 1898
-------------------------
-----------------------
A. Warrick
Pupil of Chanot
Leeds Anno 1915
-----------------------
(bearing designs of medal, also signature)

WASCHLEIN, JOHANN
Worked at Mittenwald, 1834. Amatese outline and Tyrolese arching nicely symmetrical. Interesting scroll and sound-holes. Closely grained pine for belly and one-piece back of broad figure maple. Very substantially built. Orange varnish much crackled. Inscription written with pencil on inner side of top plate:
------------------------
Johann Wschlein
Mittenwald a/d Isar
1834
------------------------

WASER
Amateur at Zurich (Switzerland), 1790-1810. Violins and cellos rather too flatly arched. Satisfactory workmanship, excellent wood and neat purfling, but unsatisfactory varnish.

WASER, RUDOLF
Stradivarian model with no aggressiveness. Good workmanship. Corner blocks splendidly finished. Nice reddish brown varnish.

WASNER, JOHANN BENEDICT (1)
Worked at Passau and Brnn (Moravia), 1710-1720. Instruments having considerable affinity with the Tyrolese. Highly arched, strongly wooded and small toned.

WASNER, JOHANN BENEDICT (2)
Worked at Passau (Bavaria). Died 1758. Violinist and repairer to the Bavarian Prince. Two daughters successfully applied for the right to practice as violin makers, 1759, thus carrying on family tradition. Viol damour preserved at the Munich Museum.

WASSERMANN, JOSEPH
Worked at Znaim (Moravia), 1785-1815. Conscientious, clever and industrious maker. Followed Italian prototypes, mostly Amati. Elegant and medium sized model. Frequently one-piece backs of rather plain figure. Orange brown and yellow brown shades of vainish carefully applied. Tonal quality smooth and responsive, but not brilliant. Also violas of rather noble form. 36, 1928.
----------------------------------
Josephus Wassermann
Lauten und Geigenmacher
in Znaym, 1785.
----------------------------------

WASSLBERGER, ANTONJ
Worked at Hallein (Salzburg), 1710-1724. Violins of semi-otiginal outline and high arching. Workmanship not particularly praiseworthy. Splendid belly wood and reasonable tone. Superior treatment on large dimensional viols, supposed to be the first in his district to make them with flat bottom plates. Name sometimes inscribed Wsslsberger.

WASSLBERGER, BERNHARD
Worked at Hallein, 1714. Not an outstanding representative of the Tyrolese school. Highly arched, frequently unpurfled, built with wood of poor quality, and brown varnish. Sometimes the tone comes out quite surprisingly clear.

WSSLBERGER, CHRISTOPH (1)
Worked at Hallein. Born 1688. Died 1718.

WSSLBERGER, CHRISTOPH (2)
Born at Hallein, 1690. Died 1724.

WSSLBERGER, CHRISTOPH (3)
Born at Hallein, 1730. Died 1779. Though there is little in the general character of these instruments to greatly interest connoisseurs, amateur players of limited purse might find much that cannot fail to be both gratifying and attractive, Evidently a maker who took measures to see Italian violins, hecame duly impressed, and subsequently reduced the high arching associated with his first instruments. This opposition to the general Tyrolese procedure brought along so many votaries and consequent buyers that he monopolised the lions share in popularity. The instruments are well worthy of the prominence given them. Though not betokening the great ingenuity and skill of the Italians there is something to highly commend. Especial care bestowed on scroll and sound-holes. Varnish altogether superior to that of contemporaries. 30, 1938.

WASSLBERGER, DOMINIKUS
Born at Hallein, 1716. Died 1780. The last of this family to exercise violin making.

WASSLBERGER, MICHAEL
Born at Hallein, 1666. Died 1736. Highly arched and similar to the Albani style. Tonal quality not to be despised, though lacking power.

WASSLBERGER, PHILIPP
Born at Hallein, 1703. Died 1743. Not of great artistic importance, but of average Tyrolese excellence, and extremely well varnished.

WATERSTONE, J. P.
Grocer and Draper at Mountshannon (Ireland), 1927. Produced a dozen carefully-worked specimens. Stradivarian and Guarnerian models. Red and amber varnish made by Harris at Newcastle. Rubber-stamped oval
----------------------
J. P. Waterstone
Made Aug. 1904
Mountshannon
----------------------

WATKINS, O.
English maker, 1846. Name written in ink where label is usually placed, found in a violin previously certified to be by Fent of Paris. Flat model, splendid design, red-brown varnish.

WATSON
Born in Cornwall. Resident in Maine State (U.S.A.), 1924. Model slightly longer than standard - some with 13-1/8 inches string length. Splendid outline and refined workmanship. Yellowish-brown shade of varnish mostly, but a few of nearly plum colour. Strong grained wood, and a flourishing orchestral tone.

WATSON, ALBURN
Born 1878. Resident at Knoxville (Tennessee), 1920. Stradivarian model, oil varnish.

WATSON, FRANCIS B.
Resident at Sheffield, 1928. Amateur who has not found his hand to be tractable, or obedient. Undisguised mediocrity surrounding the scroll, edges not bevelled. Very plain wood, purfling not neatly set, yellow varnish. Exceptionally heavy bass bar quite one inch deep.

WATSON, FRANK
Born 1866. Resident at Rochdale (Lancashire), 1895. Artistic modelling, no imperfections. Produced about 200 instruments. Graceful sound-holes and generally orange varnish. Strong tone in a condition of abeyance, awaiting the years and playing to mature it.
--------------------
Frank Watson
Violin Maker
Rochdale, 1905
--------------------

WATSON, JOHN
Priest. Resident at Lerwick (Shetland Islands). Fifty violins of neat workmanship.

WATSON, THOMAS KAY
Born in Haddington, 1883. Established as a maker in Edinburgh, 1927 to 1948. An amateur who has made a limited number of violins based on the Strad model though some show deviations. Workmanship of a very high order, instruments being finished with meticulous care inside as well as outside. The varnish (Rushworth & Dreapers Apollo or Harris Amber) is beautifully laid on in twelve to fourteen coats and very highly polished; colours vary but red-brown mostly favoured. Most violins made from native Scottish wood, well matured and carefully chosen, several having the front in one piece. Three, dated 1931, 1932 and 1948 have beautifully inlaid scroll work in purfling on the backs. Tone of ample volume and excellent quality, equal throughout, of undeniable richness and sonority. Labels all handwritten, but so exquisitely done they have the appearance of letter-press. 80, 1960.
---------------------
Made by
T. Kay Watson
1948. Edinburgh
----------------------

WATT, ALEXANDER STOCKS
Amateur maker and capable violinist. Born at Edinburgh, 1859, Died 1908. Commenced making under the guidance of Dr. George Dickson, 1875. Carefully studied Cremonese masterpieces, and soon achieved considerable success with splendidly made Stradivarian copies. Afterwards favoured the Guarnerian. Used magnificent wood, giving each instrument plenty of it, and never yielded to any chemicalising to counteract its slow but sure operation. Gave much time to varnish experimenting, and patiently waited until he formulated one of rich amber. Produced 50 violins and a few violas. Won diplomas and medals at various Exhibitions. Also made miniature copies of the Tuscan and other Strads.
----------------------------
Alexander Watt
Made at Inverkeithing
Edinburgh, 1893
----------------------------

WATT, WALTER
Born 1787. Died at Shenval (Glasgow), 1826. Much talked of in the West of Scotland as a fair player of strathspeys, maker of violins suitable for such purposes, and as a poet.

WATT, WALTER
Worked at High Blantyre (Scotland), 1880-1890. Quiet designs, somewhat Stradivarian. Dark red varnish not always attractive.

WATT, WILLIAM REID
Born at Aberdeen, 1885. Resident at Birmingham, 1926. Engineer by profession. Built violins purely for the love of it, and in no way financially dependent on it. Also a skilled player. Originally self-taught, later trained by Frank Howard. First instrument dated 1924, a modified Guarnerius model which, (accidentally probably) came out with a remarkable tone. Other ventures follow a Strad of 1707. Workmanship-technique gradually improved. Had no original theories, but a non-belief in deep ribs for the usual 14 inches violin. Found good results with a 1.3/16 rib depth, slightly tapered at the fingerboard end in accordance with the best ancient Italian instruments. Very particular concerning wood. Recognised thicknesses as adopted by the best makers, always adhered to, therefore undue thinning of the plates avoided. Believed in a moderate arch with the belly just fractionally more arched than the back if brilliancy of tone is required. Orange and reddish-brown shades of varnish.
------------------------------------------
William Reid Watt, Liutaro +
fece in Birmingham. Lanno 1926
------------------------------------------

WATTS, R.
Flat model, medium scroll, straight sound-holes and brown varnish. Workmanship etc., not conducted with such care as to ensure a good instrument.
---------------------------------
Made and Sold by
R. Watts
Music Warehouse
Blackfriars Street
Southwark, London, 1788
---------------------------------

WAUSCHEK, CARL
Father and son established at Krems (Austria), 1870-1925. Gained silver medal at the Wels Exhibition, 1886.

WAYLETT, HENRY
Worked in Exeter Exchange, Strand, London, 1765. Model fluctuates between the Stainer and Amati. Clean and accurate workmanship. Also violas broadly proportioned and with deep ribs.

WEAVER, HERMAN A.
Born in Gloucester Court House, Virginia (U.S.A.), 1886. Commenced making violins in 1898, and shortly after moved to Portsmouth, Va., where he studied violin playing. Moved to Denver at age of 17 and studied violin making under David Ruschenberg, with whom he remained until 1907. He then went to Chicago, Illinois, and continued working under John Hornsteiner for a further three years. Seeking new fields, he went to Cincinnati, Ohio, and worked under Adolph Spicker until 1916, Then opened various shops in the cities of Pulaski, Norfolk, Baltimore (1923-1935), and since 1935, in Washington, D.C. Made 275 violins, 13 violas, 4 cellos, and 4 String Basses. European wood mostly used, but for some instruments used wood from different parts of the U.S.A. and Canada. Generally Strad and Guarneri modelling, but in later years, one entirely his own. Goldenamber, nut-brown and occasionally reddish-gold oil varnish of own formula. Still Head of The Violin House of Weaver, 1960 and also famous for fine repairing and restoring.

WEAVER, JACK (M. A. WEAVER)
Born Norfolk, Va (U.S.A.), 1921. Son of preceding. Partner and Vice-President of the Firm. Specialist in tone improvement and fine adjustments. Expeit on restoration of fine old masters. Bow rehairing a speciality.

WEAVER, SAMUEL
Worked in London, 1780-1803. Common-looking instruments, thin in wood, and often badly varnished.

WEBB, ROBERT J.
Born at Barry (South Wales), 1914. Worked in London. Died 1950. Generally Strad modelling, every detail beautifully traversed. Varnish of own formula, golden-brown or reddish-brown. Valued at 60 to 100 in 1950. Unfortunately, not many specimens owing to early death. Tertis model violas also magnificently constructed.
-------------------------
R. J. Webb
Violin Maker
London, Dec. 1949
-------------------------
(with signature)

WEBER, G. W.
German-born. Worked at Kingston (Canada), 1820.

WEBER, MICHAEL
Born 1787. Trained at Vienna. Worked for Strnad at Prague. Established own place, 1818. Died 1844. Stradivarian outline and sound-holes. Very strongly wooded with fine material. Reddish-brown varnish. Workmanship absolutely free from anything that could be regarded as objectionable even by the most fastidious critics. Tonal quality vigorously healthy.
---------------------------
Michael Weber
me fecit Prague, 1840
---------------------------
(bearing the flying bat device)

WEEL, CORNELIS
Born 1809. Worked at Utrecht (Holland). Died 1871. Not many instruments, but they merit votes. Cremonese modelling - lemon-yellow shade of varnish. Cellos highly praised by certain experts, especially for a rather lustrous varnish.
------------------
Cornelis Weel
Utrecht, 1853
------------------

WEEMANN, ORRIN
Worked for A. W. White. Established his own place at Boston (U.S.A.), 1872. Had the assistance of his son, 1900. Went into partnership with Beal (professional cellist), and Holmberg (violinist who had devoted many years to judging instruments), 1910. Splendid productivity in violins, cellos, violas, viol-da-gambas, and viol damoures.

WEERTMAN, R.
Born at Rotterdam, 1895. Worked for G. M. Francois at Pittsburgh (U.S.A.), 1936. Established at Beaver (Pa.), 1942. Guarnerian-Vuillaume modelling, oil varnish based on the principles of Michelson (Cincinnati).
-----------------------------------
No. 10 Built Jan. 22nd 1949
by
Ruelof Weertman
Beaver Pa.
-----------------------------------

WEHN, C.
Born at Cologne, 1793. Worked Gttingen (Hanover). Violins, lutes and guitars. Few of first-named particularly expert with the other two forms.

WEICHOLD, RICHARD - see AUG. PAULUS
Born 1823. Pupil of Pfretzschner at Markneukirchen. Worked at Hamburg. Settled at Dresden. Died 1902. Produced all classes of instruments, but specialised in making artist bows, contributed many magnificent specimens for the comfort and skill of the principal virtuosi, and richly decorated ones for the aristocratic amateurs in that populous neighbourhood. Bows 10 to 15, 1960.
---------------------------------
Richard Weichold (Paulus)
Dresden
---------------------------------
Formulated a new process for making tested perfect fifth strings, 1860.

WEICKERT
Worked at Halle (Saxony), 1800. Theorists and experimentalists in general are very apt to over-rate the power of the means by which their inventive fads are to be realised. This man had a cloud like imagination that the loss of the resinous particles from the wood of violins by reason of their age was detrimental to the quality of tone, and to remedy this defect (according to his deductions) he made the deplorable practice of soaking his instruments in a mixture of resin dissolved in pine oil which closed up the pores of the wood. We need not dwell on this notion except to say that it proved to be the very essence of a fatal disorder, since he was flying in the face of nature, scientific principles, and all the well tested ideas of famous makers.

WEIDHAAS, EWALD
Worked at Markneukirchen, 1892-1939. Bows worthy of their popularity. Gold-mounted, dark-brown octagonal sticks, nothing hazardous with regard to warping, and splendidly balanced. Stamped E. Weidhaas. 20, 1960.

WEIDHAAS, PAUL
Born 1897. Worked at Markneukirchen, 1935. Accurate reproductions of the old master bows. Carefully selected pernambuco, hexagonal and round sticks, light and dark shades. Best specimens five guineas, 1934. 10 to 12, 1960.

WEIDEMANN, RICHARD
Worked at Wiesbaden, 1887-1925. Stradivarian and Guarnerian modelling. Prettily worked instruments entitled to respect. Noteworthy wood treated to an attractively transparent oil varnish to which is imparted beautiful shades. Brought out a new model in 1916, having sound-holes developed to some original calculations, and resulting in a remarkably easy-speaking tone as well as increased mellowness.

WEIDINGER, KARL
Worked at Nrnberg (Bavaria), 1890-1925. Customary Klotz modelling without especial attraction. Inventor of a device (placed under bridge) for tonal improvement, characterised by a support made from a resistant but bendable plate which has a stiffening insertion in the form of a spring of hard material.

WEIDLICH, FRIEDRICH AUGUST
Born 1820. Worked at Brunndbra (Saxony), 1847-1897. Produced many violins in the customary style of that country, and found a ready acceptance with European dealers eager to purchase them.

WEIDLICH, OSWALD
Born at Markneukirchen, 1863. Pupil of H. Glsel. Worked with Otto at Dusseldorf. Settled at Budapest, 1886. Won several gold medals for artistic work. Exhibited a fine string quartet of instruments at Paris, 1900.

WEIGAND, KARL HEINRICH
Born 1889. Worked at Brunndbra, 1922.

WEIGEL, DANIEL
Worked at Glatz (Silesia). Died 1865.

WEIGERT, JOHANN BLASIUS
Worked at Linz (Austria), 1719-1752. Medium high and not consistently proportioned. When viewing them we have a suspicion that the tone will not even approach ordinary decency, and when playing on them we are immediately convinced of the fact. Brown varnish too does not reduce censorious opinion. Flamed maple for the backs brings forward a less reproachful criticism.

WEINEISEN, MATHIAS
Born 1860. Worked at Mittenwald. Everything done meritoriously. Beautiful golden-yellow varnish. Tonal quality greatly praised for smoothness. In accordance with a frequent procedure in earlier times, he exposed the finished top and bottom plates before varnishing, and considered the colour thus acquired by the wood as the best ground for the varnish.

WEIS, CARL METTUS
Born 1806. Director of the Culture Ministerium at Copenhagen. Died 1872. An art-lover, who felt the urge of creating violins. Acquired much advice on the technicalities from Hjorth (principal maker in the city). Also had ardent assistance from his wife Angelica. Proved great competence in tool-management, and produced a large number of pre-eminently satisfactory instruments. Many of them (with dedicatory inscriptions) preserved at Copenhagen Museum.
-----------------
C. Weis fec
E. Hjorth cor.
Havniae
-----------------
------------------------------
Auribus non oculis
Havniae. C. Weis. 1867
------------------------------
Author of Violins and their Structure (1861) - 70 pages relating to early history, bass-bar sound-post and harmonic principles, etc.

WEIS, E. A.
Amateur. Brother of C.M. Violin and cello (copy of Servais-Strad) in Copenhagen Museum.

WEIS, J. L.
Worked at Hamelin (Hanover). Flat model, mediocre scroll, very slanting sound-holes, fine wood, dirty yellow brown varnish.

WEISS, EUGENIO
Professor of the violin at Trieste, 1880. Followed incipient fancies, dreamed a little of the Cremonese, made efforts to emulate them, had a few failures, went through further excogitation, and ultimately satisfied his fondest expectations with some finely constructed violins. Tonal quality astonishingly flexible. Fine wood setting off the warm transparency of golden-yellow varnish.

WEISS, JACOB
Worked at Salzburg (Austrian Tyrol), 1733-1780. Name sometimes spelt Weisz. Model of medium size and medium arching. Smooth workmanship and welllaid purfling. Scroll undulations confidently accomplished. Sound-holes bespeak free emission of tone. Invariably fine grain material for belly, backs generally of one piece. Golden-yellow os reddish-brown varnish of good quality. Pleasing, easily produced tone, not very strong, but nicely even and round. 30, 1931. Also viols and lutes with delicate ornamental work.
-------------------------------------
Jacob Weiss, Lauten und Gei-
genmacher in Salzburg, 1740
-------------------------------------
Sometimes date given as 17 Salzburg 51.

WEISSER, IVAN AIN Worked at Zagreb (Serbia), 1882. Slightly eccentric modelling, long and somewhat narrow, short and widish sound-holes, long but not deep waist-curves, massive scroll with wide front, reddish varnish on yellow ground.

WELLBY, CHARLES
Born in London, 1863. Resident at Edinburgh, 1890-1930. Strad and Guarnerian modelling, nicely textured varnish of red shade, excellent instruments having much interest focussed on them by members of the Reid Symphony Orchestra in Edinburgh. Early period specimens have labels written in Old English, later ones printed.

WELLER, ERNST
Born 1876. Worked at Markneukirchen. Died 1947. Good bows as well as violins.

WELLER, FREDERICK
Left a violin in his teens, it inspired him to make one of his own. His first efforts, single-stringed affairs fashioned from cigar boxes, quickly led to more ambitious models. He devoted all his spare time to the craft of violin-making. By the twenties he was using his own instruments when he played in orchestras and dance-halls as he frequently did in those days, and had begun to sell one or two to musicians in the district. Worked in a little shed at the bottom of his Surrey garden, he sometimes took two years to make an instrument. Principally Strad and Guarneri models, also modifications of a Joseph Rocca. Some 20 years later, a chance encounter with a violinist from the Covent Garden Royal Opera House brought him enough orders to enable him to give up his safe job as local coffin maker. This violinist, shown a Weller violin, asked to take one on approval, and this resulted in an order for eight more. He therefore became a full-time fiddle maker, and up to 1952 had completed 200. Experimented 30 years with various oil varnishes and colours, ultimately using one of his own formula - golden-brown, nut-brown and chestnut. A maker who really dedicated his life to the art, working to thought and inspiration rather than to eventual value.

WELLER, FRIEDRICH WILHELM
Born 1854. Established at Markneukirchen, 1881-1908. A maker of laudable ability. Produced good toned violins, very popular merchandise.

WELLER, HERMANN
Worked in Germany and Hungary. Settled at Odessa (Russia), 1895.

WELLER, OTTO
Born at Markneukirchen, 1879. Established at Charlottenburg (Beilin), 1926. First instrument dated 1897. Built 600 up to the year 1925. Always Stradivarian or Guarnerian modelling. Artistic workmanship reviving the Cremonese traits into a splendid order of life and beauty. Yellow and reddish varnish. Continuously aimed to make full scientific use of the acoustical and physical properties of various woods.

WENGER, GREGORI FERDINAND
Born at Vienna, 1677. Supposed to have worked in early years at Venice and Salzburg. Few instruments dated from these places, and possibly not genuine as it has never been accurately ascertained he was ever there. Worked at Augsburg (Bavaria), from 1720. Died 1757. Very best maker of his time in that district. Principal model reminds of a Stainer and Albani, but has certain little originalities in outline and other minor details, perhaps slightly broader and not so fully arched. Half circular lines straightened out at the necks and blocks. Middle bouts very graceful. Purfling placed quite close (3-1/2mm) to the edge, giving the back of instrument a particularly neat appearance. Generally deer grooving near the edge affording an optical illusion that the arching is unduly high. Small and insignificant scroll - peg box very narrow and sometimes with painted arabesques on the sides. Often fanciful heads of angels, lions, and bears. Sound-holes not especially attractive with their straightish stem. Nice, even grain belly wood, and usually rather plain material (well chosen) for backs. Varnish of good constituency, dark brown, also a pretty lighter brown, rich orange-red and bright red. Tonal quality moderately warm and pleasant, never penetrative, and sometimes dull and thick on third string. Also built a few on semi-Amatese plan of longish outline and medium arching, and still fewer on the Maggini model on which he exercised undeniable skill in double inlay. Violas and cellos better toned than the violins. Produced many fine lutes and theorbos.
------------------------------------
Gregorius Ferdinand Wenger
Lauten und Geigenmacher
fecit Augustae. 1746
------------------------------------
Instruments dated after 1757 are those left by him and finished by other hands. Italian writers have distorted the name to Vinzer and even Singer. 85, 1960.

WENTSKI, HANS
Born at Rthgen. Worked at Leipzig, 1645-1680. Supposed to be the first to make violins in that city.

WENZEL, DAVID
Established at Neukirchen, 1930. Guarneri models. Old figured wood. Very fine workmanship.

WERCHMAN, JOHN
Born 1900 at Berne. Pupil of Werro. Went to U.S.A., 1921 and worked for Friedrich, and finally Wurlitzer (1928). Various models, oil and spirit varnish.

WERENDLE
see FRANZ WRNLE.

WERNER, ALAJOS
Born 1886. Worked at Budapest, 1928. Excellent copies of standard models.

WERNER, FRANZ
Worked at Vienna, 1813-1825. Imitated his teacher, Geissenhof, proved worthy of him in considerable grace of conception. Modelling on modified Stradivarian lines. Top plate somewhat too thin. Brownish-yellow varnish of the prettiest shade. Excellent round tone though not of transcendental beauty.

WERNER, FRANZ EMANUEL
Born at Scbnbach. Worked many years for Richter at Vienna. Established own place there 1909. Died the following year. Copied the Stradivarian design with frank affection. Workmanship answers all the dictates of neatness. Effective reddish-yellow varnish.

WERNER, JOSEF
Born at Schnbach, 1869. Pupil of Lutz. Established at Brnn (Moravia), 1910. Died 1930. Splendid modelling on Guamerian principles. Excellent deep red or reddish-brown varnish.

WERNER-BREUT, KARL
Worked at Schnbach. Copies of all the ancient masters. Very good workmanship and oil varnish of own formula.

WERRER, MATHIAS THOMAS
Full-sized Stradivarian model, body length 14-1/8 inches. Well shaped sound-holes, and nicely designed head. Style and workmanship give the idea that the instruments emanate from one of the best German factories. Dark plum coloured varnish seemingly much worn. Ordinary but bright tone.

WERRO, ALBERT FREDERIC
Second son of Jean, brother of Henry. Born 1899. Learnt the trade from father and brother, and was found to possess exceptional talent. Later went to New York to work for the firm of Friedrich Bros. Contracted a sickness and was forced to return home. He never recovered and died early in 1941, much too young for such a promising artist. Made only three instruments personally, one of which is in the U.S.A., one in Switzerland, and the other still with the firm of Henry Werro.

WERRO, HENRY
Eldest son of Jean. Born in London, 1896. Apprenticed to the leading Master in Markneukirchen, August Wunderlich and also attended the special school for violin makers. From the Violin Makers Guild, the oldest in the world, he gained the first Diploma and a purse. Also awarded diploma with highest recognition from the school. For some time he worked with Altrichter in Frankfurt an der Oder and then with August Meinel in Liestal, Switzerland. After completing his military service in Switzerland during the first world war, he became the chief assistant in his fathers workshop. He cultivated relations with the leading makers and dealers of England, France, Germany, Holland, U.S.A. and Italy, visiting these countries often, so that he secured a very good knowledge of old instruments, and is considered the finest expert in his country. In 1927, together with his father, he exhibited at Geneva where they jointly gained the highest award - the gold medal. In 1932 he took over the Firm and was for several years President of the Swiss group of Violin Makers. Wrote a very well prepared article on the Lady Blunt Stradivarius violin (1721), as well as various articles on the subject of violins, in 1943. Founder member of the International Society of Violinmakers, and is representative of his country in the committee of this esteemed corporation. At The Hague in 1949, he gained against international competition, four diplomas for his instruments amongst which was the highest award and first prize with medal for the best violin as regards tone and workmanship. In 1949 he exhibited hors concours at the Exhibition at Cremona. In 1953 he was called as a member of the Jury for a violin making competition at Detmold in Germany. Completed up to 1960, over 300 violins, cellos and violas which are not only highly esteemed but also played upon by artists of merit. His collection of fine instruments is world famed.

WERRO, HENRY JEAN
Second son of Henry. Born 1930 at Berne (Switzerland). Went to Mirecourt where he studied with the house of G. Apparut, where he showed great talent. Made his first violin during the first six weeks of his work there. Returned to Switzerland to conclude his apprenticeship, passing the examination with highest marks. Has not made many instruments being too strenuously occupied with repairs. One of his violas was honoured and highly praised as the work of the youngest exhibitor in 1949 at the Stradivarius Memorial Exhibition in Cremona. In 1953 he exhibited in Mittenwald and received a diploma of merit. Worked in various ateliers in Paris and since November 1951 has become the right-hand of his father and is already very well-known as a clever and conscientious repairer (1960).

WERRO, JEAN
Born in Montelier, near Morat in Switzerland, 1868. Died 1938. Made first acquaintance with the violin makers art in Geneva with the well-known Leon Fischesser. After various joumeys in France and Germany he started his own business in North London (England). In 1914 he returned to his native country, Switzerland, and established himself after nearly a quarter of a century, at Berne with the help of his eldest son Henry who in the meantime, had finished his studies in the art of violin making. His violins are extremely scarce and he occupied himself chiefly with repairs and the sale of instruments. Considered a very good repairer and judge of old instruments and was held in much esteem by his colleagues. The few violins he made are built on the Strad model and have a varnish of a light orange-golden colour. Obtained the highest award and gold medal at Geneva 1927, together with son Henry.

WERRO, JOHN
Third son of Jean Werro. Born in London, 1910. Studied with his father and brother, but was not enthusiastic over the art and busied himself commercially in Africa where he died at a very early age, in 1937.

WESCHE, HERMANN
Born 1871. Worked at Baden-Baden, 1905. Good copies of ancient master fiddles.

WESP, ADOLF
Established at Schwaderbach (Bohemia), 1909. Trade, violins and mandolines. Medallist at the Tarbes Exhibition, 1898.

WESSELS, CORNELIUS
Viol maker at Amsterdam, 1647-1667.

WEST, DR. L.
Born at Springfield (U.S.A.). Resident there, 1924. Produced several nicely constructed and well sounding instruments. Asserted that the corner and end blocks have heretofore been placed the wrong way of the slats, and that they should be so placed as to allow the fibres of the blocks to run the same way as those of the slats, because wood does not shrink endways, and when the slats shrink, the blocks pry the plates apart and possibly cause a crack. So, made all his violins with the blocks thus, and ran the linings over the corner blocks, using linings that run from end to end of the instrument. Inventor of an electrical machine for duplicating tops and backs cutting groove for purfling, and carving scrolls. Also a new idea for glueing the neck, as well as a unique sound-post setter.

WESTCOTT, F. W.
Violinist. Leader of the Hippodrome Orchestra, Newcastle-on-Tyne, 1910-1923. Produced about a dozen instruments. Long Stradivarian model apparently done in a spirit of real enjoyment. Warm yellow varnish creditably applied on excellent wood. Tone favourably compares with that of modern English violins in general.
----------------------
F.W. Westcott
Violin Maker
Newcastle, 1922
----------------------

WESTERBERG, IVAR S.
Born at Gteborg, 1874. Studied the violin, sculpture, and other arts. Went to America, 1903. Won degrees at Washington University. Became director at Redlans University, California, 1925-1942. During these years he (being a violin enthusiast), sought the advice of the several reputed makers in that country and subsequently satisfied his undeniable aptitude for constructive art. Returned to native country, 1942, and produced several violins of splendid Strad and Guarnerian modelling, varnished with formula of his own.

WESTERHOFF, AUGUST HEINRICH
Worked at Hamburg, 1836-1846. Very attractive modelling, all Stradivarian. Splendid grace instilled into sound-holes and scroll.

WESTERMANN, J. THEODOR
Technical chemical adviser at Bussum (Holland), 1925, also an amateur violinist. Being the proud possessor of a Cremonese instrument he felt an eagerness in research work conceming the wonderful masterpieces created during that golden-age period in Italy, and tried to find out the physical as well as the mathematical and mechanical peculiarities and properties which caused their superiority. Made violins on his theories, also varnished them with a formula of his own. No specimen seems to have passed out of his country.

WESTERMARK, S. A.
Born 1892. Amateur at Boliden (Sweden).

WESTMAN, ERIK
Born 1860. Resident at Vivstavarov (Sweden). Won silver medal 1928. Conscientious workman who made excellent instruments.

WESTON, ARTHUR T.
Born at Lake City (Minnesota), 1858. Resident at Minneapolis, 1927. Died 1943. Practically self-taught, and seemed to grow into the art quite naturally. Became a skilful copyist of the Guarnerius model. Produced 165 specimens. Varnish of various shades, own preparation. Lived in a paradise when looking at or listening to one of his creations, and received as much as 500 dollars for a specimen - something materially more convincing.
-------------------------
A.T. Weston
Maker
Minneapolis, Minn.
No. . . . A.D. . . .
-------------------------
(slight decorative border)

WETHERBEE, E.
Worked at Gardner (Mass.), 1884. Graceful modelling. Belly wood of very old Norwegian spruce. Golden-brown varnish from which springs considerable brilliancy. Large, smooth tonal quality.

WETTENGEL, GUSTAV ADOLPH
Born at Markneukirchen, 1800. Commenced violin making in early youth. Author of A Complete Text Book of Acoustics, Tone-art and Mathematics of Stringed Instruments for the Preparation and Repairing of Italian and German Violins (1828). Second edition (1869) called The Violin and Bow Makers Art - a Theoretical Practical Introduction to Making and Repairing. A valuable and altogether thorough Treatise which remained the most comprehensive and authoritative for many years. Also assiduously built-up a fine reputation as a bow maker. Ultimately went to Dresden and established a String Factory. Died there, 1873.

WEYMANN, JOSEPH
Worked at Amsterdam, 1810-1820. Fair modelling, but of impatient workmanship, neatness taken very little heed of, but interesting scroll, the boss rather drawn in some distance, giving the side a wide appearance. Sound-holes very broadly curved, almost flat at the top. Warm-looking yellow-brown varnish.
----------------------
Joseph Weymann
Fecit Amsterdam
1815
---------------------

WHEATLEY, JOHN
Worked in Abbey Street, Dublin, 1825. Went into partnership with Ringwood at a later date. Amatese modelling though the peculiar high arching slightly invalidates it. Rather small scroll but with characteristic features. Brown shade of oil varnish deserving praise. Nicely smooth and warmly clear tone. J. Wheatley branded on back.

WHITAKER, JOHN
Worked in St. Pauls Churchyard, London, 1810-1829. In partnership with Button for some time. Violins, violas, and cellos, generally to be classed as mediocre. Many specimens without purfling. No reasonable exception may be taken to the fair quality varnish of red-brown shade.

WHITBREAD, WALTER WILLIAM
Born at Havant, 1874. Amateur violinist. Resident at Southsea, 1924. Stradivarian outline with deviations in arching and thicknessing, others entirely of original design. Instruments a trifle on the heavy side in wood. Style and workmanship experimental in 1918 - progressive since. Early specimens not of the best grade wood. Oil and spirit varnishes, brown shade.

WHITCOMB, W. R.
Born 1868. Worked with Orrin Weeman at Boston. Settled at Milwaukee, 1913. Specialist in replicating old master violins.

WHITE, ASA WARREN
Born at Barre (Mass.), 1826. Worked in early days for Henry Prentiss. Formed a partnership with his brother Ira at Boston, 1849. Died 1893. Recipient of a gold medal at the Massachusetts Fair. Made a large number of violins on Stradivarius and Guarnerius models, designs and workmanship consistent with what is usually denominated good. Also produced several violas, ten cellos, three viol-da-gambas, and two nicely worked viol damours. Generally golden-brown amber varnish. Cellos catalogued at 200 dollars. Author of The Violin - How to Construct from Beginning to Completion (Boston, 1892). 44 pages of inadequately presented matter. The page on the art of varnishing informs us that the new violin must be stained with strong coffee, and then painted before varnishing with Windsor (sic) and Newtons oil colours, bitumen, burnt sienna, carmine, and gamboge. Also contains a very incomplete list of makers which is full of absurd errors.

WHITE, CARMEN
Maker, dealer and repairer of violins, established at San Angelo, Texas. Claims to satisfy anyone however discriminating with his special Michelman violin varnish.

WHITE, DON
Editor of the Violin Makers Journal, published for the Violin Makers Association of British Columbia, an important journal (non-profit making) devoted to the art of violin construction.

WHITE, ERNEST E.
Born at Wednesbury, 1887. Resident at Wednesfield (near Wolverhampton), 1927. Amateur. First instrument dated 1924. Stradivarian model, red-brown varnish. Name, town and year written on inner side of back, no label.

WHITE, HENRY J.
Orchestral violinist who started repairing and making as a hobby. Later turned professional. Established at Ealing, 1924, later at Frith Street, Soho, London.

WHITE, IRA J.
Born at Barre (Mass.), 1813. Son of John. (The first violin-maker in that State, first instrument made 1802). Youthful precocity asserted itself in 12th year when he watched his diligent father. Took wood from a door casing, cut some material for the scroll from a curly apple tree, went up to the garret after school hours, and secretly worked with nothing but shoe tools. This first primitive attempt decided his career. Went to Boston, 1829. Died 1895. First period instruments belong to a model more or less original, and are of little consequence. Second period specimens inspired by a Stradivarius he had bought in 1851 for 1,000 dollars. These splendidly conceived and well-worked examples brought him to be ranked as the best maker of that period in America. Received favours from famous violin virtuosi who played on his instruments when visiting the U.S.A. - Vieuxtemps, Ole Bull, Sivori, and Artt. In 1864, he changed the modelling to that of a Nicolo Amati.

WHITE, JAMES
Worked at Edinburgh, 1870. Instruments with nice transcepts of the Matthew Hardie characteristics. Pale amber varnish of refreshing transparency. Tone not to be castigated too severely on account of its comparative unmellowness, there is considerable fullness at any rate.

WHITE, O. S.
Born 1898. Resident at Asheville (N.C.), 1935. Instruments made of pre-aged spruce and maple known as Wesmeraged (developed by Westall and Mertzanoff), a process producing in a plank of wood (before carving) the same chemical and physical changes that atmospheric exposure effects in a thin piece of wood over a period of many years, thus giving increased density and stiffness, consequently greater vibrancy, whilst the essentials of the wood are unimpaired, and producing a tone of significant similarity to the Cremonese. Stradivarian model, and a special Mertzanoff one designed according to mathematical calculations. Dark red or brown oil varnish.

WHITE, ZENAS
Born 1870. Resident of Lewiston (Idaho), 1930. Pupil of Robinson (Portland). Made 70 violins up to 1941, also cellos and guitars. Cremonese modelling, particularly Guadagnini, broad and low arching. Own oil varnish. Attached much importance to priming wood before varnishing.

WHITEFORD, H. K.
Born 1878. Pupil of Walter Goss (Boston). Made 85 violins up to 1942. Generally Strad modelling, and Gasparo da Salo for violas. Rich mahogany varnish. Bows of Osage orange-wood, hard, extremely resilient but light in weight and not affected by weather; deep yellow colour.

WHITEHEAD, GERALD
Resident Southport, 1925. Guarnerius modelling with different arching. Own yellow to orange, oil varnish. Written label.

WHITESIDE, HENRY
Born 1749. Died 1824. Established at Liverpool. Stradish modelling with small Stainer f-holes. One-piece backs of beech wood. Hard and heavy in tone.

WHITESIDE, RICHARD
Born in Lancashire, 1871. Amateur. Stradivarian design, dark orange varnish.

WHITFORD, J. H.
Resident at Anthony (Rhode Island), 1925.

WHITMARSH, EMANUEL
Originally a stonemason. Self-taught in violin making. Worked in Berwick Street, London, 1856-1885. Repaired for various dealers. Moved to Kentish Town Road, 1885, and to Hackney, 1887. Established at Dalston, 1908, when he had the assistance of his son, Edwin. Made a prolific number of violins, usually catalogued at four to ten pounds. Various models, and various shades of spirit and oil varnishes. Awarded medal at the Inventions Exhibition, London, 1885. 60, 1960.

WHITMARSH, EDWIN
Son of the above. Wood not always attractive and workmanship not so refined as that of father, seeming to be hurried.

WHITTAKER & BUTTON
Established at Leeds, 1805-1830. Violins and cellos. Generally reddish-brown varnish. Often unpurfled.

WICHET, E.
Amateur. Resident at Rennes, 1860. Excellent violins and violas, Strad or Guarnerian modelling, reddish-brown varnish.
-----------------------
Fait Rennes
Par Emile Wichet
En 1880
-----------------------

WICKES, MILTON O.
born at Rhode Island, 1860. Associated with Andrew Hyde at Northampton (U.S.A.), prior to 1904. Worked at Holyoak. Settled at Northampton, 1911. Thoroughly artistic and scientifically built violins. Modelling based on combined characteristics of the Amati and Stradivarius. Different shades of oil varnish, usually opaque which seems to contain pigment. Some instruments have a thin tone, others fuller, easier and penetrative.
-------------------------------------
By Milton O. Wickes
Holyoke. Mass. U.S.A. 19 . .
-------------------------------------

WICKSTRM, DANIEL
Born 1753. Worked for Johann hberg at Stockholm. Established his own shop, 1780. Died 1821. Violins, violas and cellos.

WIDDICOMBE, CHARLES
Resident at Auckland (New Zealand), 1925. Experimented with Australian woods, made 60 violins of average workmanship and a reciprocal well-balanced tone.

WIDE, NILS
Born 1888. Amateur at Sderby (Sweden). Received bronze medal, 1925, for violins.

WIDHALM, ANTON
Born 1756. Third son and pupil of Leopold. Worked with Buchstetter at Ratisbon, and a short time at Nrnberg. Finally settled at Stadtamhof near Ratisbon (now known as Regensburg, Bavaria). Died 1788. Early period instruments closely follow the Stainer pattern, and afford real elegance of that form. Many appear in commerce as genuine Stainers. Later period specimens distinctively tend towards the Stradivarian, also of finer workmanship and happier tone. Always strongly wooded with splendid material. Ribs frequently deeper than usual, yet retaining pretty affinity with general contour. Wood stained before application of a thick dark red or cherry brown varnish, transparent and of praiseworthy properties. Also produced fine violas, 15in. body length. Fine grained tops and two-piece backs. Sweet, mellow and unusually responsive tone.
---------------------------------------------------
Antonius Widhalm
fecit, Pedeponti prope Ratisbonam, 1788
---------------------------------------------------
Some specimens branded A.W. circled by foliage. 70, 1960.

WIDHALM, GALLUS IGNATIUS
Born 1752. Second son and pupil of Leopold. Worked with father at Nrnberg. Died 1822. Instruments that became famed in France, Russia, England, Spain, and America, yet none now found labelled with his name. Many ascribed to Leopold and dated 1806-1822, but indubitably the work of this clever son. Stainer outline, and arching, Amatese sound-holes, scrolls or lion-heads mostly of pear wood, and dark red varnish. Also built cellos somewhat on the Guadagnini style. Masterful workmanship and magnificent dark red varnish. 85, 1960.

WIDHALM, JOHANN VEIT
Worked at Vienna up to 1768, and at Nrnberg, until 1785. High modelling. Sound-holes imitative of Stainer. Deep cut and medium sized scroll. Pretty belly wood of young growth, and backs of nicely flamed material. Yellow varnish, but having a touch of red in places.
------------------------------
J. Widhalm in Nrnberg
me fecit 1768
------------------------------

WIDHALM, JOSEPH
Worked at Nrnberg, 1730-1740. Ordinary instruments.

WIDHALM, LEOPOLD
Born 1722. Worked at Nrnberg from 1747 to 1786. Prolific maker who favoured the Stainer model yet managed to infuse some originalities. Sometimes overdid the arching, but more frequently realised a very elegant medium gradient, and occasionally fancied the flatter style. General measurements of broad pattern - body-length 14-3/8 inches; upper bouts 6-3/4; lower 8-1/4. Carefully chosen wood, plates sometimes too thinly worked, and generally two-piece backs of finely flamed material. Neatly inserted and broad purfling. Scrolls or fancy-heads (mostly of pear wood) faultlessly carved. Sound-holes sometimes ungraceful and wide open. Varnish has a touch of the Italian, that of the later instruments being superior to the earlier, and of a lovely brownish-red shade which he made lighter or darker as fancy dictated, highly brilliant and richly transparent. Varying tonal quality, sometimes weak and played-out type, others large and without clarity, but mostly of good responsiveness and warmth. 40, 1928. Also excellently copied the Maggini model with double purfling, varnish of deep yellow shade. Some instruments have an ivory edge. Beautifully arched violas, body length 15-1/4 inches, workmanship with artistic enterprise, and noble tonal quality. Also cellos, medium high, handsome wood, red varnish. A few magnificent double-basses are known. Instruments dated after 1804 made by his son, G.I. Those dated 1789-1805 generally attributed to M.L. Produced various forms of lutes.
----------------------------
Leopoldus Widhalm
Norimbergae, A. 1770
----------------------------
(decorative border and Imperial Eagle)
----------------------------------------------------
Leopold Widhalm, Lauten und
Geigenmacher in Nurnberg, fecit A. 1768
----------------------------------------------------
L.W. branded inside underneath label, and frequently the Imperial Eagle added at the side. 90, 1960.

WIDHALM, MARTIN LEOPOLD
Born 1747. Eldest son of Leopold. Worked at Nrnberg. Died 1806. Took over fathers business, 1787, and henceforth omitted the Christian name, Martin. Workmanship generally equal to that of father. Varnish sometimes inferior, but best specimens have a wonderfully transparent garnet red. Used (for cheaper violins) a spirit varnish (gums dissolved in alcohol) of brownish shade. Scrolls characterised by having a particularly broad and protuberant boss, much differing from those of fathers instruments. 75, 1960.
----------------------------------------------------
Leopold Widhalm Lautten und
Geigenmacher in Nrnberg, fecit A. 1789
----------------------------------------------------

WIDHALM, MATHIAS
Worked at Salzburg and Nrnberg, 1710-1740. Careful workmanship, moderately high arching. Measurements - body length, 13.5/32 inches; upper bouts 6-3/8; middle 4-3/8; lower 8; Amatese scroll. Sound-holes suggest the Stainer. Excellent belly wood, brownish-yellow varnish. Tonal quality quite solidly rich and mellow.
-----------------------------------
Matthias Withalm Hof Lau-
ten und Geigenmacher
in Salzburg, 1716
-----------------------------------

WIEMER, PETER
Worked at Augsburg (Bavaria), 1914. Little known work.

WIENCKE, RUDOLF
Resident at Lbeck, 1926. Interesting modelling, pretty varnish.

WIESE, EWALD
Born 1896. Resident at Rostock (Germany). Excellent violins in Gagliano style.

WIGAN, DAVID
Amateur. Resident at Shrewsbury, 1890-1906. Fairly well constructed instruments.

WIGHTMAN, GEORGE
Worked in London, 1755-1765. A certain restriction about the character of these instruments. Apparent small discrepancies in details. Hard and dull tonal quality.

WIJK, J. A.
Born 1891. Resident at Tureberg (Sweden). Won medal 1922. Ordinary type instruments.

WIK, J.
Born 1869. Resident at Strmsund (Sweden). Won bronze medal, 1925. Died 1930. Mediocre instruments.

WIKARSKI, FRANZ
Resident at Wilmersdorf (Berlin), 1924. Unattractive modelling, wide purfling, yellow varnish. Patented Process and device for tone improvement of stringed instruments, chiefly resting on the fact that it is important to effect the variations in thickness of the top and bottom plates as uniformly as possible. This invention illuminates by transparency the plates of the instrument, and which are carefully worked with appropriate tools to remove irregularities. Consists of a box with three lamps at the hack. Between the guides (running from the top) is a vessel containing a half per cent solution of copper sulphate for cooling purposes, it may also be arranged for running water. The front wall of the box has an opening of appropriate shape, on which is placed the plate of the instrument, and left in position by the clamps. Plates may be placed with the convex side outwards, or with the concave side outwards. Usual sound-post.

WIKLUND, HANS OLOV
Born 1874. Amateur at Matfors (Sweden). Strad modelling, brownish red varnish.

WIKTORSSON, ERNST
Amateur at Sdertalje (Sweden). Won bronze medal, 1925.

WILBERGER, K.
Worked at Mittenwald, 1830-1870. Typical Tyrolese style. Good aiming at correctness of outline. Considerable minuteness in details. 20, 1930.
--------------------
Karl Wilberger
in Mittenwald
1862
--------------------
Sometimes undated.

WILCZEK, RUDOLF
Worked at Vienna, 1890-1915. Good workmanship and varnish.

WILD, FRANK
Born at Rochdale, 1869. Amateur. Convincing approach to both the Strad-Amati and Grand-Strad patterns - varnish handled with skill. Good tone with no breakdowns in upper register of either string.

WILD, FRANZ ANTON
Worked at Brnn (Moravia), 1790-1834. Rather excessive in the arching, consequently deep grooving near the edge. Not much to criticise in the workmanship. Yellow-brown varnish applied on a glue basis, therefore not adhering any too well. Tonal quality hard and rather unpleasant.

WILD, E.
Bow maker at Breitenfeld (Saxony), 1925.

WILD, HEINRICH ADOLF
Born 1843. Worked at Markneukirchen, 1885-1910. Typical instruments of the German style.

WILD, HEINRICH ROBERT
Born at Markneukirchen, 1845. Worked at Erlbach (Saxony). Died 1922. Meticulous worker who gained a wide-spread clientele. Various designs. Excellent workmanship. Beautifully shaded varnish, hues splendidly blended and graduated. Tonal quality of strength and purity.

WILD, OTTO
Born 1877. Worked at Erlbach (Saxony), 1900-1949. Conscientious worker.

WILDMAN, LUCIUS PARMALEE
Born in U.S.A., 1842. Worked at Danbury (Connecticut), 1870-1920. Artist copyist of all Cremona and Brescian models. Splendidly conditioned so that the eye receives the impression of a natural and well fashioned form. Finest wood with nice varnish. Patented in 1871 an improvement which was a suggestion to have the crescent-shaped sound-holes of the 14th and 15th centuries resuscitated. Invented the Bird Violin 1883, suggested as an offset to lion and dragon heads, etc. Not an easy thing to carve the figure of a bird in a real singing attitude, and perched on the scroll - all one solid block of wood.

WILFER, ALBIN
Born 1870. Pupil of E. Weller at Markneukirchen. Head of J. H. Zimmermanns workshop at Moscow, 1897. Worked at Berlin, 1898-1925. Italian prototypes perfectly imitated, also a model of his own. Everything treated in lofty ideal style. Rich and pretty material exquisitely enhanced by oil and spirit varnishes. Imparted a tonal quality much appreciated by German orchestral players. Father, grandfather, and great grandfather (lived in North Bohemia) were good violin makers though not exercising the art professionally.
------------------------------
Albin Wilfer
Geigenbauer in Leipzig
1899
------------------------------
Also branded *A*W*

WILFER, ANTON
Violin maker and restorer of Absroth. First-class work. Later, established the firm of Anton Wilfer Regd. in Montreal, Canada. (Partner, Mr. A. Fogl). Fine instruments and bows. One of the most important firms in Canada of the highest reputation.

WILFER, EMMANUEL
Worked at Absroth, 1910. Specialist in cellos and double-basses. First-class trade instruments.

WILFER, JOHANNES
Born 1896. Worked at Leipzig. Died 1937. Conscientious workman who turned out praiseworthy instruments.

WILFER, JOSEPH
Worked at Absroth, 1900. Won gold medal at Teplitz.

WILFER, MAX BERHARDT
Born 1895. Trained at Markneukirchen. Worked in London for short period. Established at Gteborg (Sweden), 1932. Good instruments of superior workmanship.
--------------------
Max B. Wilfer
Gteborg 19 . .
--------------------
(with initials encircled)

WILHAMS, ALFRED
Born 1840. Resident at Cheltenham. Died 1912. Made a large number of violins which show ordinary talented manipulation and a good sense of design. Various models chiefly Italian.

WILHELM, ROLF
Student at the Violin-making School, Brienz, 1950.

WILHELMJ
Trade bows of particular superiority made in Germany, 1900. Fine pernambuco sticks, Tubbs model, gold mounted. Named after the celebrated violin virtuoso. Stamped Professor Wilhelmj. 10, 1960.

WILKANOWSKI, W.
Born in Poland, 1886. Made first violin in ninth year. Became fully fledged maker at the age of 17. Went to U.S.A. Worked for Oliver Ditson Co., 1920, and for Gretsch Co. (New York), 1938. Said to have made 5,000 violins, 100 violas, and 30 guitars up to the year 1945. Cremonese models. Oil varnish of own formula, made from amber. Golden-brown shaded to reddish-brown. Usually a penetrating tone.

WILKERSON, LEE S.
Resident at Saint Joseph (Missouri), 1946. Strad and Amatese modelling, carefully worked and attractive yellow or red varnish. Branded W on button.

WILKIE, RAY
Worked at Venosta Que (Canada), since 1920. Violins and bows of good workmanship.
-------------------------
Ray Wilkie Luthier
Venosta Que.
1948
------------------------

WILKINSON, J. E.
Worked at Des Moines (Iowa), 1920-1926. Good maker of orchestral instruments.

WILKINSON, J. T.
Born 1870. Amateur. First instrument produced 1925. Guarnerius and Stradivarius chosen as patterns. Reddish-brown amber varnish, Harriss preparation. Workmanship quite satisfactory.

WILKINSON, SAMUEL BLAKELY
Born 1853. Worked at Leeds. Died 1895. Calling his place Ye Olde Fiddle Shoppe. Skilful Stradivarian modelling sometimes, but others decidedly slovenly and incorrect. Always a good bold scroll. Sound-holes graceful on some specimens, straight and squat on others. Margins and edges well thought of, full corners too pointed. Carefully chosen well seasoned wood, usually of wide grain for tops. Inferior specimens varnished light brownish-yellow, best instruments with a lustrous thick red, transparent and durable. 45, 1960.
---------------------
S. B. Wilkinson
Fecit Leeds.
No. 18 1889
---------------------

WILKINSON, WILLIAM
Apprentice and assistant to Thomas Perry at Dublin (see Perry). Interesting violas, well modelled, deep ribs, and bright tone. Body length, 15-1/2 inches. Violins 50, Violas 75, 1960.

WILL, JOSEF
Worked at Lechweissbach (Tyrol), 1809-1825. Violins and violas of flat modelling. Ordinary design and workmanship but not without praiseworthy features.

WILL, LEOPOLD
Resident at Geneva, 1870-1882. Violins and violas, probably made at Mirecourt, good woods, yellowish-brown varnish.

WILLARD, BENJAMIN
Born at Grafton (Mass.). One hot, dusty afternoon in 1790, this then young man (with a pack upon his back and a staff of hickory in his hand) went singing and whistling down the old road which runs between Worcester and Grafton. Happy because it was his first day to ply his trade as clock-maker. Chance led him to accept the hospitality of one Alexander Burgess (prominent member of the little settlement of Worcester, and bass-viol player at the village church). Young Willard had never seen a bass viol, or in fact, a stringed instrument of any description; therefore difficult to understand how the worker on clock cases should become interested in the careful wood working of this viol just then imported from England. Retraced his steps next day towards Grafton, had the measurements of the viol in his pocket, and started to make duplicates, thus becoming the first to make bass viols (cellos) in that State. This pioneer, having no knowledge of tone, and no examples of Italian craftsmanship, just copied the instrument he had seen at Worcester, forced to experiment with and practise varnishing, cutting, etc. never lost his indefatigable zeal to sueceed, and trusted to providence to bring him through. Just how many cellos he made during his lifetime is impossible to determine, but must have been a rapid and diligent worker by the fact that his 33rd instrument bears the date 1808, and the 59th, 1810, all made at Lancaster where he had taken new premises. When it is remembered that most of his time was necessarily taken up with his clock making operations, (hundreds of the Willard banjo clocks are still to be seen in Massachusetts), he must have possessed unusual quickness. Good outline, rather flat arching, well wooded, properly proportioned, and certainly no untalented workmanship. Even the sound-holes are not crude (though perhaps primitive) in design or cutting. Belly and back both of spruce. Body length, 29-3/4 inches, upper bouts 13-3/4; lower 17.
--------------------------------
Benj. W. Willard
Lancaster, Massachusetts
No. 59 1810
--------------------------------
(written)
No violins came from his hands.

WILLEMS, HENDRICK
Worked at Ghent (Belgium), 1650-1700. Made several especially fine violas of large pattern. Highly arched but artistically graduated. Prominent corners squared at the ends. Sound-holes rather straight and uncomfortable looking, somewhat reminding of the Brescian or Stainer types. Curvatures of outline and refined workmanship rival the Italian. Lion heads in place of usual scroll. Belly wood of even and tough fibre, remarkable for its porosity, and giving healthy and long living tone, backs of lime tree, walnut, or plane tree. Produced few violins, also highly arched. Good cellos and basses constructed with the above woods. Also pocket violins with pentagonal backs.
-----------------------
Hendrick Willems
tot Ghendt, 1651
-----------------------

WILLEMS, HEYNDRICK
Worked at Ghent, 1715-1745. Modelling generally that of an A. & H. Amati to which the maker naturally added a few personal touches so that his work could be more easily recognisable. Arching always correctly calculated. Scroll and sound-holes invested with originality without undue peculiarity. Belly wood of judiciously chosen pine, backs of walnut, and ribs sometimes of maple. Varnish and workmanship admirable. Tonal quality especially warm and sympathetic. 80, 1960.
-------------------------
Heyndrick Willems
tot Ghent, 1743
-------------------------

WILLEMS, JOORIS
Cornettist and violist at Ghent Cathedral, 1630-1662. Tenor viols of considerable originality. Short and thin corners. Sound-holes less Stainerish in favour of the Italian. Backs generally of finely flamed maple, but sometimes lime tree. Yellow varnish, fawn coloured, hard looking and thinly applied. Violins of small pattern.
--------------------
Jooris Willems
tot Ghent, 1642
--------------------

WILLER, JOHANN FRANZ
Born 1781. Son and pupil of Johann Michael. Chief representative of the Violin Makers Guild at Prague, 1831. Appraiser of violins for the government, 1836. Died 1865. Talented maker who made several experiments in varieties of pattern, which, in all cases, do not reveal additional beauties or improve the tone. Advocated new shape and position of the usual sound-holes.
----------------------------------------------------
Johann Franc Wilier
Musikalischer Geigenmacher, Prag, 1817
----------------------------------------------------
Bearing the Apollo emblem.

WILLER, JOHANN MICHAEL
Born at Vils, 1753. Worked at Prague from 1780. Head of the Guild, 1825. Died 1826. First period violins belong to the Stainer model with full arching but also without exaggeration. Light brown varnish not especially transparent, also a nut brown, richer and of softer texture. Belly wood of fine grained spruce slightly figured, and generally one-piece backs of large figured maple cut slab fashion. Tonal quality pleasingly responsive but with little real strength. 300 dollars, U.S.A., 1930. Second period violins have Stradivarian outline and medium arching, but with a slight groove near the edge so typical of Bohemian instruments. Splendid purfling placed very close to the edge. Sound-holes rather Stradivarian in curvature, but slightly more on the slant. Attractive scroll, rather wide from back to front and not deep, thereby bringing a wide opening at the throat. Workmanship quite satisfactory even to very critical eyes. Yellow spirit varnish or a prettier one of brownish shade, neither especially lustrous. Tonal quality rather full and strong in slow passages, but not brilliant or far-carrying in quick runs. 40, 1930. Also cleverly imitated the Maggini model occasionally. Frequently commissioned to supply white polished violins which were afterwards falsely labelled, 90, 1960.
----------------------------------
Johann Michael Willer
Lauten und Geigenmacher
in Prag. 1783
----------------------------------
(German lettering)
-----------------------------------------------------
Johann Michael Willer
Musikalischer Instrumentenmacher in Prag
1806
-----------------------------------------------------
(Apollo emblem in middle)

WILLIAMS, ARTHUR
Born at Raleigh (Essex), 1877. Piano-tuner and repairer. Resident at Barnes (London), 1924. Pupil of Frank Howard in violin construction. Stradivarian and Guarnerian designs, but both distinctively modified in the arching. Body length of the Guarnerian, 13-7/8 inches. Arching particularly beautiful especially across the waist. Deep purfling (acme of neatness) and deep grooving, adjuncts for throwing-up the edges and splendid gradient of the arching. Splendidly shaped scroll, sides of peg-box slightly scooped. Sound-holes the very essence of gracefulness, absolutely not one hundredth of an inch of parallelism down the stem, which starts as near as possible at the top, reaches the not wide centre in the most perfect manner, and proceeds by an equally perfect diminution in width to the lower part. It is impossible to conceive anything more superbly done, even from Stradivari or Guarneri. Upper and lower curves wondrously rounded. Carefully chosen belly wood and truly pretty backs. Orange brown shade of varnish lovingly applied. Firm and clear tone, naturally needing years and usage to bring forth its latent mellowness. Violins deservedly praised by several connoisseurs. A very painstaking and skilful craftsman with an artists eye for beauty and has supplied instruments that will ultimately fill the inevitable gap when some of the old master violins are played out.

WILLIAMS, BENJAMIN
Worked at Aberavon (Wales), 1790-1839. Supposed to have worked with Richard Duke in London. Produced about 80 violins on the Amati model. Design and workmanship elegant and smooth. Arching in perfect harmony with outline. Dark golden brown varnish, not especially transparent, but of soft texture. Small but very mellow and warm tone. 75, 1960.

WILLIAMS, FRED C.
Studied with Pezzoni at Elkhart (Indiana). Worked for Conn & Co. Established own place at South Bend (Indiana), 1923.

WILLIAMS, R. J.
Born at Llandudno, 1865. Clever amateur. Self-taught. First instrument produced in 1895. Subsequently became a professional. Various models of celebrated Italian specimens. Generally light amber varnish. Anatomy and physiology of construction completely assured. Won several prizes. Also built interesting violas and cellos.
-------------------
R. I. Williams
Violin Maker
Llandudno
1922 (47)
-------------------
(with fantastic design of a bird playing the violin)

WILLIAMS, ROBERT STEPHEN
Born 1892. Pupil of Bird. Worked for Rushworth & Dreaper at Liverpool since 1919. Consistently exhibited natural aptitude in making and repairing.

WILLIAMS AND SONS, R. S.
Established by R. S. Williams (notable violin connoisseur and expert) at Toronto (Canada), 1849. Developed and expanded to branches at Calgary, Winnipeg and Montreal, 1920. Recognised as the leading firm in that country. Employed several of the most skilled workmen from France, Holland and Italy, also a few Canadians. Their instruments, constructed from the finest types of Cremona art, must be placed among the best modern products. Especially popular is their Stradivarius model of very finest material and rich reddish golden varnish. Naturally devoted their attention to producing an instrument which shall approximate as nearly as possible in tone to that of an old master. Williams Quality in violins and cellos is a standard appreciated in the most exclusive musical circles.
----------------------------------------------------------
Varnished and Regulated in the Atelier
of the
Williams & Sons Co.
R.S. (Musical Instruments of Quality) Limited
145 Yonge Street, Toronto. No.
----------------------------------------------------------
Bearing an undulating circular design with the words Williams Toronto a wreath and a tiny violin. Also artist bows of Brazilian wood, round or octagon sticks and silver mounted. Possessors of a very large collection of old instruments, equal to those in New York, London or Paris. The principals in 1930, contemplated compiling a Dictionary of Canadian Violin Makers, having collected the names, etc., of several hundred amateur makers, some as far back as 1750.

WILLIAMS, THOMAS
Born 1864. Resident at Edgbaston (Birmingham), 1915. Considered himself an amateur. Workmanship attains a high standard of merit. Splendid copies of the Lorenzo and Tomasso Carcassi. Several re-labelled as genuine Italians.

WILLIAMSON, JAMES
Born at Lerwick (Shetland Islands), 1854. Started to construct violins (more or less guess work) in boyhood days, and went on until it became a passion with him. Went to New Zealand, 1875. Lived at Fjelding. Moved to Wellington, 1906, as art cabinet maker for the Government. Retired 1923. After this superannuation he devoted his entire time to violin making, rejuvenated his enthusiasm and worked with an artists rapture. Produced quite a large number of instruments on Stradivarian and Guarnerian lines intermixed. Workmanship of that unblemished nature which must come from a closely observant and hand-sure craftsman. The strongly feminine (not in size but delicacy), scroll also reflects the highest credit on his experience. Great acumen displayed in ingeniously laid purfling. Charming sound-holes though slightly more towards the perpendicular than customary. Belly of New Zealand pine, ribs and back of mottled Kauri (astonishingly flamed and beautiful native wood). Spirit varnish of a light golden yellow; own formula. Tonal quality quite exhilarating in clarity and brilliance. Won eight medals at exhibitions in Australia, England and America.
----------------------------
Jas. Williamson
Maker, Fjelding, 1899
----------------------------
-----------------------
J. Williamson
Wellington, 1925
-----------------------

WILLIS, CHARLES SILK
Born at Walsall, 1883. Settled at Caversham (Reading), 1914. Leather merchant by trade. Became interested in the violin family and found experience in repairing various old instruments, and had lessons from Chanot in London. Produced first violin after ten years steady improvement, 1922, the model approximating to the Guarnerius of 13-7/8 inch body length. Red orange oil varnish.

WILLMORE, JOSIAH JOHN
Born 1877. Pupil of Frank Howard. Resident at Wood Green (London), 1920. Strad and Guarnerian modelling, red brown oil varnish.

WILMET, F. J.
Worked at Antwerp, 1740-1746. Very arched modelling. Few specimens seen.

WILSON, J. GORDON
Worked at Glasgow, 1880. Vigorous design on Stradivarian principles. Satisfactory workmanship and clear yellow varnish. Judiciously chosen wood but plates left too thick.

WILSON, JAMES JOHN THOMPSON
Specialist in bow making. Also repairer of violins. Born in London, 1864. Commenced professional career in 30th year with James Tubbs. Subsequently worked for Charles Boulangier. Established own place, 1882. Happily working in his old-world atmosphere studio in Percy Street, 1929. Bows unsurpassed in balance, finish and design. Sticks of strong and elastic pernambuco. Eagerly accepted by leading virtuosi. Stamped J. J. T. Wilson. 12, 1960.

WILSON, JAMES L.
Born at Galston, 1847. Worked at Greenock (Scotland), from 1887. Pupil of Mann. Artistic mode of treating the styles of Stradivarius, Guarnerius and Gasparo da Salo, whereby few characteristics are modified. Whitelaws varnish, usually red, splendidly applied to enhance beauty of old wood. Tonal quality rather strong, now becoming a good representative of mellowness. Gold medallist at Scottish exhibitions. Instruments not labelled but have 'Made by James L. Wilson written on inner side of back.

WILSON, JOSEPH
Born 1880. Dentist. Resident at Glasgow and Edinburgh, 1927. Prolific maker and very expert repairer. Worked for Smillie at Glasgow. Modelling invariably that of the Alard Strad, but thicker in wood to suit higher pitch and modern vigour. Varnish of all shades. Much of the wood (claimed to be 600 years old) taken from ancient bridge at Genoa. Many specimens masquerading under Italian names.
------------------------------------------------
Joseph Wilson. Edinburgh. anno 1926
Made of Italian Wood.
------------------------------------------------
Some pungent remarks of the maker (which we do not entirely endorse): - Waste of time to think of any outline other than the Strad. Varying the arching gives the differences in tonal response. The Paganini firework-player needs a circle-like arching. The andante-whiner with his Raffs Cavatina needs flatter arching, and a slightly tubby (mistakenly termed warm) fiddle if he is to be satisfied. I do not cater for either class, only for artists. My violins play fine after six months use, yet the average virtuoso fails to see this and prefers thin Italian instruments. When fine players come to their senses perhaps new fiddles will come into the picture.

WILSON, JOSEPH S.
Resident at Montreal (Canada), 1905. Amateur maker of much talent.

WILSON, R. J.
Born 1887. Resident at Edinburgh (Ohio). Good copies of Dolphin Strad. Attractive oil varnish.

WILSON, WILLIAM
Fitter at the Singer Works, Glasgow, 1927. Residents at Clydebank. Instruments of excellent design.

WIMMER, FRANZ XAVER
Nicely proportioned instruments of the Klotz School. Brown varnish fully in character and given due effect.
------------------------------------------
No. 3
Franz Xaver Wimmer, Geigen-
macher in Mittenwald an der Iser
Anno 1743
------------------------------------------

WINAHLEK, FRANZ
Pupil of Schunda. Worked at Hermannstedt (Transylvania), 1885; and at Temesvar (Austria-Hungary), 1910.

WINFIELD, F. E.
Born 1878. Cabinet maker. Resident at Crewton, near Derby, 1924. Pupil of A. J. Roberts in violin making. Produced first instrument in 1921. Modelling after the Alard Strad, and a Guarnerius dated 1734. Design and workmanship favourably commented on by London experts. Golden brown oil varnish of own preparation.
-------------------
F. E. Winfield
Derby. 1924
-------------------
Frank Winfield Derby rubber stamped at top of back.

WINKLER, FRANZ
Bow maker. Products much recognised, 1921. Original model (known as the Winkler), also imitations of the Tourte and Voirin. Impressive and artistic, perfect balance, round and octagonal sticks; those of dark chocolate colour generally gold mounted. 20,1960,

WINTER, ANTON
Born at Schnbach, 1888. Worked at Leipzig, Berlin, Munich and Vienna. Established at Karlsbad, 1935; and at Bad Reichenhall, 1946. Splendid modelling of a Guadagnini and other Cremonese, also Gagliano. Pale yellow varnish. Particularly handsome backs.

WINTER, JOSEF
Born 1857. Pupil of Reichel at Markneukirchen. Worked in fiddle shops at Leipzig, Stuttgart and Vienna. Established at Linz (Austria), 1896-1925. Amati modelling, perfect harmony of outline and arching, and delightful delicacy of workmanship.

WINTER, JOHANN
Worked at Schnbach, 1880. Specialised in cellos and double basses.

WINTER, JOSEPH
Born at Warsaw, 1786. Worked at Utrecht. Died 1860. Large and flat model, often two-piece front and one-piece back, excellent yarnish and powerful tone without harshness.

WINTERLE, MAX
Worked at New York, 1915-1927. Good class workmanship.

WINTERLING, ANDREAS
Bow maker at Steingrub (Bohemia), 1925. 10, 1960.

WINTERLING, GEORG
Born 1859. Worked at Frankfort, Dresden and Vienna. Assistant to Pfab at Hamburg. Won diploma at local exhibition, 1889. Established own shop there, 1890. Settled at Planegg-Krailling (near Munich), 1920. Hamburg shop carried on by his many years assistants, Anton Schreiber and Anton Lugert. Instruments yielding highly satisfactory tonal results. Perfect design which clever manipulative care has fully developed. Equally happy in wood and varnish.
--------------------------------------
Anno 1893. Georg Winterling
Hamburg
---------------------------------------

WIRNITZER, PETER SEBASTIAN
Worked at Botzen (Tyrol). Pupil of Albani. Also went to Cremona for tuition. Amatese-Strad model of small pattern. Yellowish red varnish calling forth admiration. Warm tonal quality administering to the gratification of chamber-music players.
----------------------------------------
Peter Sebastian Wirnitzer
in Bulsani in Tiroli. Anno 1693
----------------------------------------

WISCHER, J.
Worked at Neuchtel, 1832; and Zurich, 1853. Few seen.

WISE, CHRISTOPHER
Worked in London, 1654-1660. Violins affording convincing proof that the maker had artistic ideas and cleverness of hand. Delightful design of small dimensions, with medium arching and deep ribs. Plates beautifully thicknessed. Yellowish brown varnish of a consistency which enables tone to flow freely. Also pretty viols with decorative purfling and fancy inlay on backs.
-----------------------------------------------
Christopher Wise in Half-Moon Alley
without Bishops-Gate, London, 1656
-----------------------------------------------

WITHERS, EDWARD (1)
Born in London, 1808. Bought the William-Davis business in Coventry Street, 1846. Had several French assistants. Died 1875. Splendid models of the Stradivarius and Guarnerius. Contour as intoxicatingly beautiful as the originals. Oil varnish of fine texture and transparency. Tonal quality far-carrying and fruitful in mellowness. 30, 1930. 80, 1960.
---------------------
Edward Withers
London
----------------------
(beautifully scrolled)
Made two violins, viola and cello with backs of a wondrously flamed maple accidentally found in the attic of his shop, pronounced the finest quartet in England.

WITHERS, EDWARD (2)
Born 1844. Son and pupil of preceding. Also had guidance from John Lott. Worked twenty-four years with father. Moved to Wardour Street. Appointed maker to the Duke of Edinburgh, 1893. Died 1915. Capable executant on the violin, viola and cellos. Produced about twelve instruments yearly. Copyist of the Stradivarian and Guarnerian models. Designs and workmanship not uniformly artistic and flawless, but occasionilly reached great heights, and these superb specimens have realised 50. Made many formulas for varnish before absolutely satisfying himself with one entirely of oil, varying in colour from yellow to brown and red to golden red, rather rich and brilliantly transparent. Had a somewhat unique method of applying it, thus - gave the wood a few coatings of amber varnish, allowed the instrument to hang for a few years so that there should be no uncertainty as to the drying, and then put on the particular shade (also oil) desired. Tonal quality sometimes rather disappointing, but certain specimens have luckily come through with a finely telling and strong emission. Several violas and cellos. Inventor of a prepared hollow soundpost for ameliorating the tone, also a tubular bass bar. Discoverer of new voicing to increase the freedom of the vibrations. Three sons received a thorough training in the craft and contributed much to their fathers prestige; Edward Sidney Munns, born 1870, Sidney Bernard (1873), and Douglas Sidney (1894)
------------------------
Edward Withers
22 Wardour Street
London
------------------------
(scrolled border)
--------------------------------
Edward Withers
22 & 22a Wardour Street
Leicester Square
London, W.
late of 31 Coventry St.
--------------------------------
(smaller lettering, and without scrolling)
90. Cellos, 150, 1960.

WITHERS, GEORGE
Son of Edward Withers (1). Worked with father for number of yeays, then established own place in St. Martins Lane, London, subsequently moved to larger premises in Leicester Square. Business carried on by two sons since 1900, Guarnerius (excellent violinist) and Walter George; both trained in constructive and repairing art at Mirecourt. This famous firm ceased to exist, 1933. Stradivarian and Guarnerian modelled violins; four grades. 10 to 21. Splendid type of orchestral instruments, plenty of power, brilliant and equal on the four strings, nothing harsh or woolly. Oil varnish generally of reddish colour. Two grades of violas, and three grades of cellos. Violas made by old George when working at St. Martins Lane have the attributes of Cremona work, body length, 16-1/4 inches
---------------------
George Withers
London
---------------------
------------------------------
Oil varnished No. . .
George Withers & Sons
Leicester Square
London 19-
------------------------------
(bearing design of a violin, lyre, music, etc., with sun in background)
Also an excellent productivity in bows. Stamped G. W. & S. or George Withers & Sons.

WITHERS, JOSEPH
Born at Poplar (London), 1838. Made first instrument in 1856. Worked for James Brown the younger, at Spitalfields, 1869. Rented a shop in Caledonian Road, North London, 1879. Won first prize at Westminster Exhibition. Produced 150 violins, 12 violas and a few cellos. Most specimens inspired by the Messe Strad. Outline shows the hold that Art had on his intelligence, the curvatures affording pure gratification to the eyes. Arching slightly deviates from that of prototype. Good margins and nicely finished corners. Proportions splendidly accurate, also admirable thicknessing of belly and back. Scroll, though of bold design, is delightfully proportionate to the rest of the instrument. Sound-holes well slanted and subjected to the laws of simple elegance and graceful proportion. Neatness and steadiness characterises the purfling. Varnish not fascinating, but also not without merit. Responsive and reedy tonal quality, not unlike the Vuillaume timbre. 75, 1960. Label of his last violin:-
-------------------------
Made by
Joseph Withers
aged 80 years
London A.D. 1918
-------------------------

WITTE, HARALD
Born 1894. Amateur at Skara (Sweden).

WITTING, GEORG
Worked at Mittenwald, 1754-1775. A maker evidently fascinated with the Klotz style. Commendable workmanship. Dark yellow brown or wine red varnish. Nice tone, smooth and responsive, but no real vitality. Made a good number of instruments, many having labels with better known names. 12, 1930.
---------------------------
Georrg Witting
Mittenwald. A. 1768
---------------------------

WITTING, JOSEPH
Worked at Mittenwald, 1785-1799. Ordinary type instruments.

WITTMANN, ANTON
Born 1878. Worked at Linz, 1892; and at Vienna for Stbinger, 1897. Established own shop at Vienna, 1910. Instruments of masterly design. Details minutely developed by a conscientious mind. Oil varnish of fine shade, transparency and consistency.
--------------------------------------------
Anton Wittmann
Geigenmacher. Wien in Jahre 1923
--------------------------------------------

WOERLE
see WRLE.

WOHLENBERG, WILHELM
Born 1853. Violinist. Resident at Gstrow, 1898.

WOITOK, ALFONS
Born at Oppeln (Silesia), 1888. Watched the only violin maker in Oppeln, Geipel by name, and greatly profited thereby. Passed through college and was destined to be a medical man. Broke away from this, and devoted himself to repairing stringed instruments. Worked as voluntary assistant in several factories in Saxony. Established at Breslau, 1911. Soon achieved success. Ultimately employed seven workmen, and laid down the newest machinery. Conductor of an orchestra of forty in 1925, and practically every stringed instrument used therein had been constructed by him. Stradivarian and Guarnerian modelling. Designs and workmanship quite flawless. Golden yellow varnish with a light red to dark red shading. Tonal quality round, full and far-carrying. Instruments now deservedly enjoying a wide circulation. Brand mark: visible through right-hand sound-holes, with Silesian emblem in centre: -
------------------------------
39
*A*W*
25
Alfons Woitok Breslau
------------------------------
Alfons Woitok Breslau branded outside. 90, 1960.

WOLCOTT, HENRY H.
Born 1860. Established at De Kalb (Illinois), 1900-1926. Author of Timbre and Timber, an interesting booklet which he supplied free.

WOLF, GUSTAV
Born at Strassburg, 1889. Worked at Paris, 1906. Settled at birthplace, 1908. Cleverness amply demonstrated in the Lupot design. Yellowish brown varnish, transparent and smooth. Tonal quality sufficiently healthy as to promote a strong hypothesis of its rapid maturity.

WOLF, JOSEPH
Worked at Vienna, 1865-1892. Violins and cellos of ordinary Tyrolian style; brown varnish.

WOLF, PAUL
Established at Luxembourg, 1925.

WOLFF, CARL
Born in Silesia, 1765. Worked at Berlin, 1795-1854. Instruments that have the essential elements of stability, but without the indispensable discrimination in thicknessing of plates. Consequently the tone, though orchestrally strong, seems to want ventilation to properly breathe. Workmanship moreover very limited in refinement, sometimes positively rough. Neither is the design altogether accurately proportioned. Wood often of indifferent quality. Varnish too dark and opaque to be synonymous with tonal amelioration.
---------------------------
Carl Wolff in Berlin
Anno 1828. No. 1
---------------------------
(written)
Succeeded by son in 1861.

WOLFF, FRIEDRICH
Worked with Stauffer at Vienna.

WOLFF BROTHERS
Known as Gebruder Wolff in Germany. Factory established in 1864 at Kreuznach (Rhenish-Prussia) by Leopold (conductor of the Kur Orchestra at Bad Mnster) and Ferdinand Wolff. These founders retired in 1912, business devolved on Leopolds son Julius (subsequently lost his life in the war). Traditions of the firm carried on by Fritz Mansbacher, 1922. Splendid class of trade violins, violas, cellos and basses. Every instrument subjected to special tonal improvement supposed to be their secret. Many instruments dated as though emanating from London, Wolff Brothers having a branch there from about 1885, and for 25 years their products had enormous popularity throughout the British Isles. 25, to 50, 1960.
-----------------------------
Wolff Bros.
No. 301. London 1905
-----------------------------
-----------------------
Gebrder Wolff
Patent. Creuznach
-----------------------
Inventors of a mute violin, 1888; consisting of a mahogany frame without top or bottom plates, otherwise similar to the ordinary violin, a practising article, not absolutely silent but soft-toned and sufficient for the player to test his tone and bowing.

WOLFRAM, A.
Bow maker at Schnlind (Saxony), 1925.

WOLFRAM, ALBIN H.
Worked at Brambach (Saxony), 1903. Died 1949. Musical director, and specialist in bow making. Also produced the usual variety of trade violins.

WOLFRAM, HERMANN
Bow maker at Brambach and Markneukirchen, 1908. Died 1935. Bows of good physical properties, genuinely balanced and certain to behave well when required.

WOLFRAM, JOHANN FRITZ
Bow maker at Brambach, 1881-1908. Bows of fine resistance and durability. 10, 1960.

WOLFRAM, OTTO
Born 1884. Worked at Markneukirchen. Died 1947. Made violins which were much esteemed.

WOLFRAM, SEBASTIAN
Worked at Munich. Died 1762. First-class instruments with an individuality of their own. Excellence in every constituent and complete harmony between all. 85, 1960.
-----------------------------------------------------------
Sebastian Wolfram, Churfrtl:
Camer-und Burgerl: Lauten-und Geigenmacher
in Mnchen. 1765.
------------------------------------------------------------
Instruments dated after 1762 probably made by G. Sidtler (pupil and successor).

WLLER, JOHANN (1)
Worked at Schnbach, 1750-1770.

WOLTERS, JEAN MATHIAS
Worked at Paris, 1740-1777. Made few violins but these have sometimes realised 50. Modelling gives a sense of tranquility. Yellow varnish of considerable fascination. A maker who succeeded in getting down to the fundamentals of clear tonal quality. Also six-stringed viols, impeccable workmanship, double purfling and ornamental heads.
----------------------------------
J. M. Wolters fecit Lutetiae
Parisiorum, au faubourg
Saint-Antoine. Paris, 1749
----------------------------------

WOLZ, DANIEL ADALBERT
Worked at Postelberg (Bohemia), 1680-1690. Violins, violas and viol-da-gambas.

WNDNER, HANS
Worked at Regensburg (Bavaria), 1650-1680. Some specimens long-bodied and rather flat arching, excellent reminders of the Brescian school. Accurate proportions which gratify visual judgment. Varnish often lustreless, without intensity, and of a light brown shade. Other specimens belonging more to the Bavarian school, ordinary body length, high arching and orange shade of varnish. Belly wood of fine fibre, one-piece backs of plain material. Scroll frequently too elongated. Tonal quality sweet but relatively thin. 20, 1930. Large modelled violas, 15-3/4 inches string length, strongly built, attractive wood and brownish varnish of fairly rich quality, with a rare resonance and sensitivity of tone.
--------------------------------------
Hans Wndner, Geigenmacher
in Regentsburg, 1677
--------------------------------------
(decorative border)
Name sometimes given as Wendtner.

WONGELLI, IVRONTIGNY
Worked at Paris, 1800. Well designed and indeed elegant looking instruments. Yellow varnish tending towards opacity.

WOOD AND ITS TREATMENT
There are, throughout the world, many varieties of woods used in the construction of front and back plates of violins. Various makers and discoverers have made seemingly justifiable claims of certain properties in the woods of their choice, for the tonal improvement of their violins. Controversy in magazines, periodicals, monographs and printed books is continually carried on by the enthusiastic advocates, of each species of wood. We do not propose to enter this controversy which has raged since the time of the first string instrument and which we hope will continue as long as string instruments are made and played. But we do consider that it would be advantageous to catalogue and comment on some of the commonest used violin woods and on their treatment.
The belly of a violin is usually made of soft wood of a resonant nature and of good conductivity. The commonest woods used are PINE and SPRUCE, the different species of which, vary to a large degree in density, quality of grain, resinous content and conducting power.
Swiss Pine (PICEA ABIES), is the finest of these woods, particularly if the grain is close and even, and the cross section shows an average of about 20-40 growth rings per inch. This type is also known as Jugoslavian Pine and Chester Pine.
Various sub-species of Picea Abies are to be found and have been used in lutherie: Weymouth Pine, which is somewhat heavier than Chester Pine.
American Red Pine (PINUS RUBRA), is still heavier and denser; while Pitch Pine (PINUS POLUSTRIS), is the heaviest and densest of the pine family useable for violins, and even then the resinous contents should be wnolly or at least partially extracted. Pine from the Scandinavian countries, Norway and Sweden (PICEA EXCELSA), on account of the great variations in the temperature of summer and winter, is tougher and harder than the same species grown in the milder winters of Northern Italy and Switzerland. The same applies to Canadian Red Pine (PINUS RUBRA). Yet both of these have been and are favoured by some makers.
On the other hand, American White Pine (PINUS STREBUS) and Canadian Spruce (PICEA ALBA), are only slightly inferior in quality to the finest Swiss Pine, and selected blocks may even be equal tonally and in workability to the best.
Sitka Spruce (PICEA SITCHENSIS) is largely used by American makers. It is found on the Pacific Coast from Alaska in the north, to California in the south, and grows up to fifty miles inland. The tree is the tallest of the spruces and its wood, usually wonderfully straight grained, is a very pale brown colour. Its texture is light, yet not too soft, and it is claimed by the American School of makers to be very fine for tone.
Very similar to Sitka Spruce is Engelmann Spruce (PICEA ENGELMANNI). This is also found on the Pacific Coast of North America, but at a somewhat higher altitude. This wood, sold commercially as Montana Soft Spruce, is of a reddish brown colour and it is said, by its users, to be just the very thing for a light and brilliant tone. Very similar in texture and quality is Idaho Spruce, the only difference being its yellow colour and its slightly greater density and strength. Canadian White Spruce (PICEA CANADENSIA), also called Cat Spruce, is another excellent material for a reedy tone. This wood must not be confused with Picea Alba. which although it also is called Canadian Spruce, is totally dissimilar in density, quality and much superior tonally to Picea Canadensia.
Azerole and Airplane Spruce are other varieties which occasionally get enthusiastic mentions from violin writers, usually without cause or reason.
Western Red Cedar (THUJA PLICATA), gives a responsive tone, both clear and powerful, but not especially sympathetic. The wood itself is strongly aromatic, slightly reddish brown in colour, very brittle but durable.
Port Orford Cedar (LAWSON CYPRESSUS) has been greatly advertised in America as appealing to the searcher for the very last word in fine tonal top-wood. It is found near Port Orford on the coast of Southern Oregon. These huge and beautiful trees are not common even in that area, hence the highly admired wood is very scarce and expensive. It is usually very fine grained, rather light in colour and has a strong fragrant odour. Being hard and firm in texture, it is very durable and stands all sorts of weather exposure.
Western Larch (LARIX OCCIDENTALIS NUTTALL) is also cited as being in considerable demand in the United States of America. This wood is rather heavy but fine grained of a clear reddish brown colour. It is generally thought to be too hard for violins, but opinions differ and instruments have been made from it which have a splendidly resonant tone, though not easily producible by the player and resembling the French Tone.
There are about six varieties of the common indigenous European Larch (LARIX EUROPEA). None of them approach pine for successful violin making.
The Roman Cypress (CUPRESSUS SEMPERVIRENS) also comes into favour occasionally but as quickly goes out of favour again.
Derazey and other French makers of his era had a preference for Carpathian Pine, found on the slopes of the Carpathian Mountains. It is a very brittle wood and not easily procurable. The tonal result in violins made of this wood is frequently of that unsympathetic quality deeply deplored by soloists yet occasionally admired by orchestral players for its strength and resistance.
Numerous varieties of European Pine have been tried, recommended, criticized and deplored: -
Umbrella Pine (PINUS PINCA) is another variety.
Cluster Pine (PINUS PINASTER) has occasionally been used.
Jerusalem Pine (PINUS HALEPENIS) has its advocates.
Corsican Pine (PINUS LARICIO) of several sub-varieties, and Mountain Pine (PINUS MONTANA), have attracted and repulsed many Italian makers.
PINUS PENCE, ABIES PINSAPO AND ABIES GLAUCA, have also been utilised.
Scots Pine, PINUS SYLVESTRIS, both the Red and Yellow varieties have been used by the Scottish School of Makers of the late eighteenth and early nineteenth century. But because of its high resinous content, it was not really considered satisfactory outside that country, yet even Douglas Fir has been cited as a good wood for bellies.
The violin makers of Australia have been experimenting with King William Pine (DACRYDIUM FRANKLINJI), Hoop Pine (ARAUCARIA , CUNNINGHAMII), and Kauri or Cowdie Pine (AGATIS AUSTRALIS). The results have pot always been as originally expected, but the violins made from the Cowdie Pine show the most promise because of its fine even grain, clean yellowish white colour and reasonable weight. Sometimes, for the backs of their violins, these adventurous makers have used Australian Blackwood (ACACIA MELANOXYLON) or Queensland maple (FLINERSIA CHATAWAYANA). A combination of these native woods does not produce the best violins.
New Zealand offers two varieties of pine, Red Pine (DACRYDIUM CUPRESSINUM) and one named TOTARA-PODO CARPUS. For backs there is also two kinds of local woods to be found, one named PUKA and the other HINAN. The tone of these native instruments cannot be classified as pre-eminently satisfactory; and the faith of their makers in the excellence of their wood has not yet extended to other countries. Many American makers unreservedly praise the beautiful elastic white and clear texture of the wood growing on the slopes of the Rocky Mountains. The alkali deposits in many parts of that mountain range impart some unique quality to the trees and the spruce growing there has a considerable affinity with the Swiss variety. The wood from this area is very dry, almost sapless, and most of it is without flaws in the well marked grain.
Many European makers, however, assert that American pine and spruce are too soft and resinous to make satisfactory bellies; but of course, there are others who avow its great superiority. For example, Germans as far back as 1885 imported American wood for violin making, and it was so extensively used as to cause, in that year, a long complaint from the vendors of European wood.
The American variety of the ABIES BALSAMEA is a spruce highly thought of by the French makers of the late nineteenth century; and the instruments made from it bear favourable comparison with the best production of contemporary Italians.
In 1923 a large quantity of wood was taken from the ruins of the cliff dwellers near Aztec, New Mexico. The timbers were estimated to be at least a thousand years old. Some American violin makers have since made a speciality of instruments made of this wonderfully well seasoned dry wood, of good quality, but without adding to or creating an equally wonderful tone.
A quantity of superior spruce has also been found near Lake Saranac, New York State. This wood is not always fine grained but kinky, and hundreds of excellent violins worth about l0-20 have been made from it.
The ABIES RUBRA, or fiddle spruce, and the ABIES NIGRA, or black beer spruce, both of fine grain, are fairly prevalent in the Eastern States of America, but they are seldom utilised for violin making.
Red Cedar (JUNIPORUS VIRGINIANA) is a wood advocated by some makers in U.S.A. and Canada as especially easy to work with and to get a really good responsive tonal result. This wood, having a slight figure in it, perhaps upsets one of the pet theories of those makers, clinging, perhaps wisely, to the older school of thought. Modern Mittenwald instruments nearly always have bellies made from the spruce of the Oberammergau district, and the backs are usually of the beautifully marked maple imported from Hungary and Bosnia. But E and K Lorenz (Markneukirchen, Saxony 1908) specialised in making violins entirely from GUAIACUM, a tree grown in the warm climate of the West Indies. Every part of the instrument was made of this wood, the belly, back, ribs, scroll, bass bar, sound post and even the bridge of four m.m. thickness. They claimed that their instruments had an Amati-like sonority up to the highest positions.
At the Manchester Exhibition of 1887, Alfred Shepherd displayed several instruments made from yew trees which were fifteen hundred years old. This wood resembles mottled soap, but the makers claimed that it was the finest wood for creating a rich bell-like and powerful tone.
Argentine makers (1945) sometimes used native woods called Neuquesne, CHAQUERO and MISIONERO, after the region from which each type of wood is obtained.
Today we have people lecturing on the possible use of Balsa Wood (OCHROMA LAGOPUS) for the table of a violin. They claim for it an excessive lightness and elasticity, but it has the drawback of absorbing moisture in too great a quantity. Doubtless much of this can be remedied by some form of heating or other process, but this very fact should cause any maker to keep away from the mania of experimenting. This applies similarly to the African woods OBECHE, PODO and AGBA, to the South American woods PARANA PINE and ALERCE, and to other tropical woods equally obviously unsuitable for violin making, and to such native European woods as Lime (TILIA CORDATA) and Plane (PLATINUS OCCIDENTALIS).
In considering the woods used for violin backs, there is an even more and wider variety which have been used, enthused and experimented upon, than with the woods previously mentioned for bellies. The criterion of choice for a back, ribs, neck and scroll, is a hard wood, nicely figured perhaps, of even straight grain, firm in texture and of about 401b. weight per cubic foot and, very importantly, acoustically resonant in nature. The best wood is, of course, Maple coming from Southern Europe, but here again American workers advocate the Canadian and American species (ACER SACCHARIUM). Sycamore (ACERPSEUDO-PLATANUS) from Southern France and Germany is another wood which has had great vogue in past and present makers, mainly because of its cheapness in comparison to its near cousin Maple.
Pear (PYRUS COMMUNIS) was extensively used by Italian violin makers of the seventeenth and eighteenth centuries, and even some of the master makers of that era and country used this wood with wonderous results in tone.
Both Maple and Sycamore come largely from Southern France, Germany, Switzerland, the Italian Tyrol, Dalmatia, Czechoslovakia and Roumania. Perhaps the Tyrolese wood has the greatest number of adherents, but the other countries furnish much splendid material.
Broad Leaf Maple, coming from the Pacific region of America, is much favoured by some makers in that country, also the Dwarf Maple, Illinois Maple and West Virginia Maple. On the other hand, the makers of Western Canada are vehement on the quality of their native grown Canadian Maple, and it is noted that a viola exhibited in Ascoli Piceno, Italy, 1959, and having a back made from Canadian Maple, received an award. It is also true to say, however, that at the same exhibition, violas made from Tyrolean Maple and Sycamore also received awards. Such woods as Acacia (RABINIA PSEUDO-ACACIA), Chestnut (CASTANEA VESCA), Jacaranda, White Mahogany (PRIMA VERA), Walnut (JUGLANS REGIA), etc., etc., have been used at times, usually regretted later by the maker.
It might be advantageous to discuss at this point the merits or demerits of the use of wood ifllers or primers in the final stages of violin construction. Fillers of various types, ranging from bees wax, glue, sealing wax, varnishes, oils, etc., have been used, discussed and advocated for centuries. Every maker has his own theories, fads, methods and systems, but none are eager to give full details of their work, both qualitative and quantitative and with detailed formulae, especially if their results achieve any degree of satisfaction. It is curious to reflect that makers who have enthused over a new method of filling, and in so doing give detailed instructions, usually produce a mediocre result, or claim a result and finish which cannot be repeated by others. Yet there should be no secret in any of the stages of finishing an instrument, particularly in the stage of priming.
Otto Mockel (Berlin) examined this question of priming and authoritatively wrote: -
The priming of the Gaglianos consists of a solution of yellow Gamboge Gum, in many cases this colouring matter is also the chief constituent of their varnish. J. B. Guadagnini did not seem to have primed the woods with colouring matter, but only to have applied a colourless varnish coating before applying the proper varnish with its dissolved resins and colours.
Stradivari used a very light yellow primer, similar to the colour of Saffron and the beautiful gold colour of his wood work has been developed partially by oxidation of this oil.
Unfortunately, many able makers such as Rauch (Breslau), Bachmann (Berlin), Thir (Vienna), and various others of Tyrol, Bohemia and Saxony, have made some of their products unsightly by rubbing in a brown colouring matter (probably umber) before varnishing. Fortunately at the present time, such a practice is used only in rare cases of mass production at factories.
On examining the authentic violins of the master era, one is made aware of the almost lustreless soft smoothness of wood which has developed through the gradual wearing-off of the original varnish; but with imitations, the free remaining ground spots of the wood rarely or never show the absolutely pure old colour and the characteristic wax-like, fatty, mild smoothness of the masters, but are usually rather rough or have a too pronounced lustre. And some imitations of old instruments are conspicuous by an excess of these cloudy shades of ground colour, of a patchy texture, more noticeable on the top plate rather than on the back, scroll or ribs. It seems that the softer layers of pine wood do not shine and therefore often appear darker than the adjacent annual rings.
It has not been possible to confirm in any genuine old Italian instrument that a complete impregnation of the wood with resins or oils has, in fact, taken place and whether, after drying, this impregnation has caused a hardening of the wood. But any repairer who, when having to add new parts, such as insert new linings or insert a graft, etc., and who thereby has to cut through the old wood or to plane it, will notice, and comment on, the softness of the old wood rather than a hardness which one would expect to find in a wood homogeneously impregnated. Further, anyone wanting a homogeneous material would not reasonably use the exceedingly porus pine wood for bellies. This tends to agree with workshop practical experience rather than many recent wild surmises, because microscopic examination of old wood taken from old instruments undergoing repairs, shows a noticeable and remarkable clearness of the cellular tissue, whether the wood is derived from the bass bar or from a varnished area.
Another fascinating theory was advanced by R. Ditmar (Chemiker Zeitung, 1924) when he suggested that old Italian masters must have impregnated their instruments with latex derived from the flowing sap of suitable trees. He stated that wood so treated had a very characteristic shine and feels fatty and elastic, and added that when he examined a Strad, it appeared to him that in the places where the varnish had worn away, the wood had the characteristic appearance as if impregnated with latex. He quoted that suitable trees grew in likely regions, such as the Eurphorbiaceous trees on the Adriatic and Tyrrhenian coasts and the FICUS ELASTICA tree in Central and South Italy, and both these species yielded a sap rich in latex rubber. He concluded, therefore, that the Cremonese availed themselves of these things and impregnated the wood with this latex before varnishing.
In contradiction to Ditmar, Murmana (Czechoslovakia) maintained that only elastic varnish, without any filler, can bring about the good Italian tonal quality so much sought after, and he considered that, in particular, a latex rubber foundation was most unsuitable. He based his opinion on the fact that latex rubber hardens with time and would become quite inelastic after 200 years. Ditmar, however, maintained that this would be true if the latex film was exposed, but postulated that the applied varnish would protect not only the latex-rubber film, but the compounds of this latex which were absorbed into the wood and thus prevent any hardening.
The theories of age changes in wood has led to numerous experiments and postulations. In the book The Preservation of Wood (Heinzerhing, 1885), the author mentioned a theoretical process by which, in his opinion, wood treated with ozone should have its contents of resins and fats oxidised or somehow withdrawn, dissolved or changed so that it developed the natural qualities of age. And further more, he considered that it should be possible in this way to prepare young and fresh wood, which was wet and soaked with moisture, so that not only should it become like wood stored and cared for, for years, but even out-age old wood! This theory was accepted by Ren who sought to explain it by visualising the complete decomposition of the resinous contents in the wood by atmospheric oxygen or ozone.
As a result of these articles and following research by R. Mewes (Germany), Dr. S. Amdt (Berlin) conducted a series of experiments which were of value if only to condemn the theories. He proved that no decomposition could or did take place in the ageing of wood. He considered that the ageing of wood occured in two separate and distinct processes: (i) a physical phenomenon, namely, that of drying, i.e., the separation of its water content and of volatile oils, and (ii) a chemical phenomenon, namely, the gradual oxidation of the resin content under the influence of atmospheric oxygen. Both of these, he considered, were dependent solely on the variation of the wood with increased age, and it was incredible to him to be able to oxidise or decompose water which, under normal conditions and temperatures, is well known to be neither oxideable nor decomposible, and equally incredible to him was the assertion that it was possible by oxygenation to decompose even up to complete disintegration any natural resin, because in that case the combined resins such as Colophonium, Shellac, Mastic, Sandarak, etc., would naturally break up and disintegrate under the influence of air oxygen.
To prove his contentions, Dr. Arndt subjected woods to exposure of oxygen and to ozone via a Wimshurst machine, to test if there would be any disintegration or decomposition. The only disintegration which he recorded was in a para rubber tube, which was completely eaten away after an exposure of 20 minutes. There were no obvious changes in the woods, even after extremely long exposures. Neither chemical or microscopic changes could be detected and the woods were apparently unaltered. Yet, encouraged by these negative results, when he subjected cheap varnished and unvarnished violins to prolonged exposure to ozone, he considered that there was an improvement in tone and articulation. He therefore considered that, rather than decomposition, there was in fact a variation in the substance of wood from the influence of the ozone, and that only some form of oxidation was possible, and he further considered that some method of oxiding wood by liquid means, might result in artificially ageing the wood and so render an old tone in new wood. The use of acids, such as nitric acid, for this purpose cannot be too strongly condemned.
Dr. Arndt then experimented with wood resins. Having polished woods rich in resins, he subjected them to bending strains and noted that, in due course, resins were exuded in a liquid state, which rapidly coagulated into a solid state. His conclusion from this was that during the process of oxidation, the resinous contents of wood first becomes fluid, thereby flowing to points of greatest strain and there becoming solid, at the same time penetrating the soft parts of the wood. He thereupon considered that similar changes took place in violins, and that it was those changes which gave the instrument any increase in tone or articulation which it might derive with the passage of years and that constant playing, by varying bending strain in the instrument caused the liquified resin to flow to the points of stress.
His conclusions apparently were that age and playing alone would give better tone and articulation, that even a poor instrument could thereby be improved either naturally or by artificial means. These ideas are obvious nonsense. A poor instrument will always remain a poor instrument, but a good violin can be irrepairably damaged by subjecting it to ill considered experiments.
A further advance in the research into violin wood arose from the work of Carl G. Schwalbe and Rudolph Schepp in 1923-5. They compared the chemical analytical composition of an Amati violin with those of recent Italian and German violins, and found that there was no important variation in the contents of Lignin, Pentoses, etc., and that apart from a somewhat higher amount of resin in the Amati, the only really significant difference was the very high ash content of the wood from the Amati (1.28 %), which greatly exceeded the ash content of the recently made instruments (0.18 % to 0.45 %). This was statistically significant and striking. They considered this fact in relationship to the legend that the Cremonese violin makers steeped their wood in flowing water for several months. Now the wood used by these makers came mainly from the South Tyrol region, where the streams and rivers carry water of a high lime content, and there was therefore the possibility that, as a result of such steeping and intensive washing out, the chemical and colloidal properties of the wood was changed.
Following this line of reasoning, Schwalbe and Schepp experimented with blocks of pine wood, and subjected them, under strict control, to continued immersion in hard water at a temperature of 30 C for 80 days and nights. The water had a hardness of 12 on the German scale, which indicated a high lime content. After the experiment, the pieces of wood exhibited on the surface a slight sludge of Iron Hydroxide, which easily rubbed off, but apart from that there was no significant chemical changes in the organic substance and no deposition of iron within the wood could be shown by analysis of the ash. One could justifiably assume, therefore, that no washing out of any components had taken place by this prolonged immersion, but it was interesting to note that the only significant change was a very considerable increase in the ash content when compared to controls. This increase, from 0.27% before the experiment to 1.16% after the experiment, was due solely to the lime taken up by the wood, and the figures demonstrated bear comparison to the ash content found in the old Amati violin wood.
Of course, from the proceeding, the conclusion cannot be drawn as to whether the secret of the old violin makers consisted in increasing the ash content of their wood by lime, since the colloidal behaviour of the wood is certainly considerably modified by long exposure to water. It is already sufficiently known how wood which has not been transported in river water differs materially in its physical properties, but in the interest of violin construction it would be of value if repetition of these experiments so described, be done so as to determine, on violin wood, in what manner the taking up of lime and long immersion in water does influence the acoustic properties of the wood. Perhaps the lime causes a loosening of the wood fibres, or perhaps the immersion causes swelling of the fibres by osmosis and infiltration of the lime, either of which may cause a change in vibration on analysis. These changes could and should be accurately computed and compared by the modern scientific methods, apparatus apd equipment available for such research today.
The soft lustrous beauty of old wood exerts a peculiar charm on the eye, from which no one who has studied the music of colour can withdraw himself. That combined with the magic of wonderous sound coming from an old violin delectably used, should be enough to keep alive the desire for more, and better instruments until perhaps we will regain once more the craft, skill, patience and secrets known to those luthiers named in the proceeding Dictionary.
We gratefully acknowledge the co-operation of Dr. M. E. Gordon of Plymouth, who has edited and brought up-to-date the above section on Wood & Varnish - Editor.

WOOD, G. F.
Resident in London, 1890-1910. Modelling which reveals several admirable traits.

WOOD, JAMES
Born 1884. Cabinet maker and amateur violinist. Resident at Perth (Scotland). Strad and Guarnerian modelling, brown shade of oil varnish.
-----------------------
James Wood
No. 9 Perth, 1928
------------------------

WOODCOCK, CYRIL
Born 1896 at Sparkbrook (Birmingham). Son of Frank Woodcock, famous musician. Accomplished violinist, pupil of Leonard Pemmell. Served in both world wars. During this period interested himself in the collection of violins. Made a number of instruments modelled after Strad, Guadagnini and Camilli Camillus. Subsequently established for twenty years as dealer, repairer and expert in London, finally removing in 1958 to The Lanes, Brighton, Sussex, where he carried on business. Many world famous instruments passed through his hands. Associated with William Henley (author of this Dictionary) for fifteen years and upon the latters death, undertook the publication of this enormous and important work, not for monetary gain, but for the sake of art and as a tribute to the memory of his friend.

WOODS, JOSEPH R.
Resident at Uniontown (Pa.), 1925. Strad and Guarnerian modelling deserving much credit. Oil varnish, yellow to dark-brown or red.

WOODWARD
Worked at Birmingham, 1820-1840. Outline recalls the Stainer, medium arching. Small scroll without the aristocratic character occasioned by its exalted position. Sound-holes have stiffness of stem and debility of curvature, suggestive of the Stainer type. Good wood covered with a nice golden-brown varnish. Woodward branded in small capital letters at top of back.

WORDEN, JAMES
Born 1839. Lived at Preston (Lancashire). Died 1910. Cabinet maker, organ builder, conductor of a Choral Society, and finally violin maker. Produced about 50 instruments. Bold modelling mostly on Stradivarian and Guarnerian lines, also an original one though suggested by the Maggini. Good workmanship. Nicely carved scroll, but embodies a gracefulness rather foreign to the general contour of the instrument. Sound-holes have that intrepid self-sufficiency which afford anticipations of a free and strong tone issuing therefrom. Neat purfiing, carefully worked edges, and a smallish button rather elongated. Various shades of the Whitelaw and Watson varnishes. Labels bear the design of the Pascal (Easter) Lamb, with the motto Princeps Pacis, the coat-of-arms of the borough of Preston.
-----------------------------
James Worden, Maker
Preston, 1900
Sub titulo St. Caecelia
-----------------------------
Other Saints signalised on other labels.

WRLE, FRANZ SALES
Born 1758. Lived at Mittenwald until 1819. Outline either Stradivarian or Guarnerian. Medium arching more in the Amati-Klotz style. Bold scroll, but shortish sound-holes. Purfling and other details conspicuous for accuracy. Wood of the very highest quality obtainable, medium and fine grained for belly, handsome broad figured material for backs (generally two-piece). Yellow-brown, brown and wine red (of thicker texture) shades of varnish. Tonal quality of unsuspected potentialities if not forced by too much vigorous bowing. 25, 1930. 70, 1960.
---------------------------------------
Franz Wrle. Geigenmacher zu
Mittenwald an der Iser, 1819
----------------------------------------
(German lettering)
Also branded F.W. Name sometimes spelt Worli.

WRLE, GEORG
Born 1620. Worked at Augsburg (Bavaria). Died 1674. Produced violins of elegant design. Workmanship good but not over refined. Brown varnish discriminately applied. Also lutes and very pretty pocket fiddles.

WRLE, JOHANN PAUL
Worked at Nrnberg (Bavaria), Tyrnau, and Pressburg (Bohemia). Design has a certain something which pertains to the peculiarities of the Viennese and Prague schools. Fairly flat arching, good scroll and sound-holes, neat purfling, pretty wood, and yellow varnish.

WRLE, MATHIAS
Born at Vils (Tyrol), 1650. Worked at Augsburg. Died 1695. Lutes, pocket fiddles and a few violins.

WRLL, CONRAD
Born in the Tyrol, 1696. Worked at Vienna. Died 1771. Large proportioned violins and cellos. Very swelled arching, straight sound-holes, and of clumsy looking contour. Strongly wooded with fine material, its beauty somewhat neutralised by dark-brown varnish, but the instruments have a really good tone.

WRLL (WERLL), JOHANN
Son and pupil of Conrad. Worked at Vienna, 1756-1785. Instruments approved of for solidity of structure and orchestral tone.

WRNLE, ANTON
Born at Mittenwald, 1858. Pupil of Kriner. Worked for local dealers until 1897. Spent a year with Geisser at St. Petersburg. In Mckels shop at Berlin, 1899. Established at Munich, 1903. Died 1906. Finely executed copies of the Stradivarius and Guarnerius. Splendidly traced purfling, handsome wood, and rich oil varnish. 80, 1960.

WRNLE, CHRISTOPH
Born 1784. Died 1876. Employed largely by dealers, but occasionally made superior instruments of brave workmanship to which he signed his name.

WRNLE, FRANZ
Lived at Mittenwald and Freising (Bavaria), 1750-1766. Instruments having touches of Cremonese influence in outline and slight arching. Minute workmanship satisfying the closest inspection. Yellow varnish of fair transparency. 20, 1928. When he built high-arched specimens the fact that they imitate the Stainer model is notified on the label.
---------------------------------------------------
Ad Imitation in Jacobi Stainer fecit
franc: Werendle in Mittenwald ano 1753
---------------------------------------------------

WRNLE, GEORG
Worked at Mittenwald, 1755-1786. Instruments not attaining a particularly high degree of excellence. Usual structures in Bavarian style, Klotz-like or of the Stainer exaggerations very slightly modified. Brown varnish of darkish tinge.

WRNLE, MATTHIAS
Worked at Mittenwald 1915-1925. Made first-class solo violins, violas, and cellos. 80, 1960.

WRNLE, N.
Worked at Mittenwald, 1720. Original in outline and arching. Yellow varnish

WRNLEIN, FRANZ
Worked at Mittenwald, 1760-1799. Little known work.

WRNUM, ROBERT
Born in Berkshire, 1742. Went to London and established himself as a musicseller and publisher in Glasshouse Street. Removed to Wigmore Street, 1777. Musical Directory of 1794 announced him as a violin and cello maker. Died 1815. Instruments, including guitars, whether made by or supplied to him, branded Wornum.

WORSCHEL, ANTONIO
German working at Milan, 1690-1700. Excellent style rather impregnated with German characteristics. Nicely shaped scroll, judiciously chosen wood, well covered with un-Italian brown varnish.

WORTHINGTON, JOHN
Worked at Hereford, 1820. Exaggerated conception of Stainer idiosyncracies. Workmanship dangerously near mediocrity. Tone obviously all within and wandering round hollowness, and by no means pleasant when it manages to escape through sound-holes.

WORTHY, W. H.
Established at Helmsley, York, 1953. Strad model usually, golden-brown varnish. Very nice tone.

WOULDHAVE, JOHN
Worked at North Shields (Northumberland), 1850-1870. There are several features in these violins which point to their probable emanation from factories in Saxony or Mirecourt. Usual models, and generally spirit varnish.

WRANGEL, MARIA
Swedish Countess. Artist-painter and violinist. Studied violin-making with Kjellin. Presented a well made violin at Ostersund, 1910, and rewarded with diploma of honour.

WRIGHT, CHARLES
Born at Glenwood (Iowa), 1865. Resident at Genoa (Nebraska), 1927. Modelling on which much technical knowledge and artistic thought have been exercised. Three models - Paganini Guarnerius, Dolphin and Messe Strad. Varnish quite red at centre and shaded lighter towards the edge. Tonal quality which players willingly pay 100 dollars for.
-------------------------------------
C. R. Wright
Violin Maker and Repairer
Genoa, Neb. Fecit anno 1926
-------------------------------------

WRIGHT, DANIEL
Worked in London, 1738-1748. Interesting antiques, not unflattering to the English school.

WRIGHT, EBENEZER
Worked at South Shields (Northumberland), 1880. Not much to be recorded and passed on to posterity.

WRIGHT, HAYDN W.
Resident at Brockley and Brixton, 1925. Pupil of Frank Howard.

WRIGHT, J.
Bootmaker at Slough (Berkshire), 1927. Violins which evidence thoughtful and careful procedure.

WRIGHT, JOSEPH
Artist-painter at Derby, 1890. Bought violins in the white. Decorated the bellies with various designs. Similarly treated the scrolls and ribs, and presented the backs with art-imaginings of his wonderful painting. Strange excursions of fancy recalling the words What bright phenomena there strikes the eye. Inscribed at bottom of back -
------------------------------------
Delineata a Josepho Wright
anno Aetatis, suae 16. .
------------------------------------

WRIGHT, LAURENCE
Born on a farm near Jefferson (Iowa), 1862. First saw a fiddle in 14th year, felt a strange ecstasy, and tried to extract some of its melodious tones. Enthusiasm increased until he felt he must make a replica. Thus his first instrument was made with the crude tools in the farm shed, 1878. During education period spent at the Drake University, the lure of craftsmanship became very strong. Purchased the best books on the subject, employed good hard sense in picking out things most essential to ultimate success, patiently chiselled this and that piece of wood, experimented with varnishes, felt confident he had found the secret of the art, and his first proper creation soon satisfied already fascinated eyes. Rented premises at Des Moines (Iowa) - still working there in 1930. Exclusively followed the Stradivarian outline. Carefully worked out a system of graduation differing from any other known to him - 13/64 of an inch at the thickest part. Everything lovingly done by hand, nice assemblage of curvatures in sound-holes and scroll. Purfling done with the greatest efficiency. Inside of instrument smoothed and polished as carefully as the outside. Most of the wood used had been taken from the ruins of a Pilgrim cabin erected in 1632. Wood generally coloured or stained previously to thin application of oil varnish of fine transparency and brownish tinge. Endowed each instrument with all there is of its own personality, worked slowly but surely, and was amply compensated by completing one instrument every two years. Proud of the fact that one or two soloists have appreciated the tonal quality to such a degree as to use specimens for concert performances. On the back, in plain view through sound-holes, painted with pen and Indian ink on the bare wood, will be found the number, date, graduation, bass-bar length as well as its thickness, also names of the woods used, together with his name and location.

WRIGHT, P. F.
Compiler of Violin Data (U.S.A., 1923) - gives minute measurements of celebrated violins, width, graduation, arching, sound-hole formation, etc. - excellent guide for the making of templates.

WROZINA, IGNAZ
Worked at Pesth (Hungary), 1875. Employed by Methven and Simpson at Edinburgh, 1885. Won medal at the Edinburgh Exhibition for violins of pretty Stradivarian designs and clear tone.

WROZINA, R. A.
Son and pupil of Ignaz. Worked for A. H. Glaesel at New York, 1907. Established at New Haven (Connecticut), 1910-1926.

WRYATT, ANGUS
Resident at Portobello (Scotland), 1710. Violins of rough design and home-made varnish, but with finely carved rams heads fully two inches across from tip to tip of the horns. Also others with more or less grotesque heads.

WUESTHOFF, OSCAR
Born at Newark (New Jersey), 1870. Worked there 1925-1950. Pupil and assistant of Ferdinando Moglie at New York, 1915. Produced first instrument, 1918. Made 20 violins, 7 violas and 4 cellos. Interesting copies of the Cremonese from Amati to Bergonzi. No detail in workmanship proved elusive to deft skill. Careful selection of material, proportions and thicknessing perfect, consequently no retardation in the natural advancement of tone towards maturity. Reddish brown, chestnut brown and orange shades of varnish.
----------------------
Oscar Wuesthoff
Maker
Newark. N.J.
U.S.A.
----------------------

WUICHET, E.
Born at Mirecourt. Worked at Rennes. Very ordinary workmanship, various classical models, yellow orange or red varnish.

WULME-HUDSON
see HUDSON.

WUNDERLICH, AUGUST
Born 1863. Worked at Markneukirchen, 1887. Died 1925. Conscientious worker.

WUNDERLICH, ALBIN
Born 1873. Established at Charlottenburg (Berlin), 1912. Beauty of form and extremely clean workmanship give these instruments the true artistry appreciated by connoisseurs. Rich quality of varnish and a victorious tone. 125, 1960.

WUNDERLICH, C. A.
Factory at Siebenbrunn (Saxony), 1854-1925. Excellent grades of trade violins for solo, orchestra and students in new or imitative old styles. Reliable bows modelled after famous types.

WUNDERLICH, CURT
Born at Leipzig, 1902. Son of Gustav. Went to U.S.A., 1924. Became American citizen, 1931. Established at Detroit, 1934. Specialised in copying Guarnerius, Stradivarius and Bergonzi models, also varnishing them similarly. Very accurate workmanship. Gratifying testimonials from artists. Since 1953 started making copies of The Spagnoletti Nicolo Arnati 1682, an instrument in his possesion. Also cellos, replicas of Goffriller and Stradivarius.
-----------------------
Curt Wunderlich
Maker. Detroit 19
-----------------------

WUNDERLICH, ERNST
Established at Sohl near Bad Elster (Saxony), 1925. Solo and orchestral violins from 30 shillings to 8. Specialist for violins in the white, scrolls, etc.

WUNDERLICH, FRIEDRICH
Born at Zwota, 1876. Studied bow making with Nrnberger. Established at Markneukirchen up to 1898. Subsequently went to Leipzig. Working there 1925. Magnificent bows, all parts done personally and by hand - usually follow the Tourte model but other celebrated types likewise successfully imitated. Sticks polished without shellac resin, so that they can be cleaned with alcohol without losing their polish. Strongly constructed saddles with an improved ferrule. Particularly robust heads, fine wood and faultless workmanship. 15 to 20, 1960.

WUNDERLICH, G.
Established at Landwuest (Saxony), 1925. Violins which have achieved fair popularity.

WUNDERLICH, GUSTAV
Born 1872. Pupil of Karl Khler at Schnbach. Worked at Berlin. Settled at Leipzig, 1897. Instruments which emulate the Cremonese in design, workmanship and varnish. Patented a new bow, 1926. Made the smallest quartet of instruments in the world.

WUNDERLICH, OSKAR CARL
Born 1867. Worked at Markneukirchen. Died 1946. Achieved far-reaching reputation for double bass bows. Stamped O. C. Wunderlich.

WUNDERLICH, OTTO FELIX
Born at Markneukirchen, 1873. Worked at Cologne, Amsterdam and Carlsruhe. Established at Moscow, 1898. Violins worthily popular in Russia. Finely balanced artist-bows of perfect workmanship.

WUNDERLICH, P.
Mandoline maker at Wernitzgrn (Saxony), 1925.

WUNDERLICH, ROLF
Son of Curt. Born New York, 1930. Trained in the well-known School of Violin Making, Mittenwald (Bavarian Alps). He studied there two and one half years and successfully completed his course. Graduated as the only American in the class of 1956 and received his diploma as a professional violin and cello maker. After three years further training with his father, he joined him under the firms name: Curt Wunderlich & Son, Detroit, Mich. Favourite model a Stradivarius of 1704, but also copies a Guarnerius del Gesu. Violins very skilfully made, possessing a fine quality tone. Oil varnish. 500 dollars, 1960.

WUNDERLICH, WALTER
Bow maker at Markneukirchen, 1923.

WUNNEBERG, EBERHARD
Born 1902. Studied at Markneukirchen. Established at Carlsruhe, 1930.

WRFFEL, JEREMIAS
Son of Johannes (viol maker). Town musician at Greifswald (Pomerania), 1686. Died 1725. Viols of peculiar construction. Striking originalities in outline and arching. Individualistic sound-holes and very deep ribs. Top and bottom plates sometimes inlaid with flowers and other ornamental designs. Scroll replaced by a pretty lion head.

WURLITZER, ALBIN
Established at Markneukirchen, 1923. Stringed instruments of every variety; also bows.

WURLITZER, HANS ADAM
Worked at Neukirchen, 1730-1748. Master in the violin makers guild, 1732. Achieved a notable reputation throughout Saxony.

WURLITZER, JOHANN
Son of Hans Adam. Worked at Neukirchen, 1735-1765. Violins constructed by an honourably conducted hand and a mind having knowledge of the constituent elements of art.

WURLITZER, RUDOLPH
Born at Markneukirchen, 1873. Descendant of a family of violin makers dating from 1700. Went to U.S.A. and opened premises for violin dealing at Cincinnati, 1856. Ultimately became the greatest firm in America for branches in all the important cities. Died 1948.

WURLITZER, REMBERT
Born 1904; became head of the firm, 1930. Great connoisseur and expert in old master instruments. Owns a world-famed collection of Italian master violins. Many of the worlds finest luthiers have from time to time worked for the firm, who have also one of the finest workshops in the U.S.A.

WURM, ANTON
Cabinet maker at Aussig (Bohemia), 1865-1880. Learnt violin making in the workshops of Saxony. Violins of mediocre style now fully consigned to their legitimate worthlessness. Better workmanship belongs to his guitars.

WURMER, ANTON
Worked at Garmisch (Bavaria), 1760-1780. Nice violins corresponding with the Klotz school.

WURM, PHILIP JACOB
Worked at Vienna, 1771-1803. Stainer modelling, high arching, delicate corners and a feminine scroll. Backs generally of small flamed maple, covered with a transparent dark brown varnish.

WRTEMBERG VIOLINS
Trade instruments each bearing a carved medallion of Stradivarius, Paganini, etc., on the back.

WUTZELHOFER, BERNARD
Born 1785. Son and pupil of Sebastian. Worked at Brnn (Moravia). Died 1865. Stradivarian modelling of refined workmanship. No deficiency of art knowledge in the varnishing. Tonal quality so good as to encourage patronage from soloists. 40, 1928. 95, 1960.
-------------------------------
Bernardus Wutzelhofer
fecit Brunae Anno 1818.
Nro 65
-------------------------------

WUTZELHOFER, SEBASTIAN (1)
Worked at Brnn, 1782-1827. Violins with several cunning strokes of art. Stradivarian and Maggini models, the former also occasionally given double purfling. Very pretty scrolls and sound-holes. Dark golden yellow or brown varnish.
----------------------------
Sebastian Wutzelhofer
Fecit Brn Anno 1795
----------------------------

WUZELHOFER, SEBASTIAN (2)
Worked at Vienna, 1760-1780. Good looking instruments, tone of virile timbre but lacks really penetrative brilliancy.