BAADER, F. A.
Worked in Mittenwald (Bavaria), 1808.
Specialised in ’cellos. Stradivarian modelling conspicuously appealing to the eye as a true replication. Workmanship characteristic of facility of hand certainty. Straight-grained spruce and fine quality maple. Reddish-brown varnish. Tonal quality strong and flexible, but ordinary.

BAADER, J. A.
Factory at Mittenwald, 1925. Established 1790.
Trade instruments of various grades, most reasonably priced, exported to every corner of the world. Trade mark - M.B. double circled. Violins made by skilful assistant luminaries, or by machinery, according to standard. Extremely well and prettily wooded. Various shades of oil and spirit varnishes.
Violas, ’cellos and double-basses. Designs and workmanship possibly transcending all antecedent mass production for that town.
Guitars, lutes, mandolines and zithers.
Stainer-modelled violins, dated 1854, especially commended.
-----------------------------------------------------------------
Königlich Bayerische Hof-Saiteninstrumenten Fabrik
von J. A. Baader & Co. Bèsitzt Max Baader
Gegründet 1790
in Mittenwald a/Isar. Bayern
No. 979 1899
-----------------------------------------------------------------

BACZYNSKI, LADISLAUS
Worked at Cracow, 1902; and Lwów (Poland), 1925.
--------------------------
Ladislaus Baczynski
fecit Cracoviae 1902
--------------------------

BADALASSI, PIERO
Born at Forcoli (Pisa), 1915. Resident at Pisa, 1936.
Instruments destined for future fame after being subjected to years of good playing. Yellowish varnish which will grow in splendour. Scrolls especially of fine carving. Various classical models, and one of a personal note paying homage to certain Stradivarian traits.
Won diploma at the Stradivari Competition, Cremona, 1937.
----------------------------
Piero Badalassi in Pisa
Faceva l’Anno 1946
----------------------------

BADARELLO, CARLO
Born 1885. Worked at Turin. Died 1931.
Violins and ’cellos which have achieved considerable popularity in Italy and Austria. Customary standard models.
------------------------------------
Carolus Badarello fecit
in Taurini anno Domini 1927
------------------------------------

BAILLY, CHARLES
Born 1879. Pupil of Lotte and Mougenot. Worked at Mirecourt from 1909. All stringed instruments made entirely by hand. Artistic modelling and finished workmanship. Effective and transparent oil varnish of reddish-brown shade. Tonal sonority.
Imitations of old master violins. Also bows.
-----------------------------------------
Instruments de Solistes
Charles Bailly
Maitre Luthier
Anno 1926. No. 296. No. 1289
-----------------------------------------
(Name also written across. Several brand marks).

BAILLY, JENNY
Daughter, pupil and successor of Paul. Established at Paris, 1900-1927.
Violins, violas and ’cellos made entirely by hand - assemblage of details quite harmonious. Clever and faithful imitations of the Cremonas, Lupot and Vuillaume - neatest workmanship. Whole scale of warm-looking varnish shades applied to give an illusion of the ancient. Strong tonal quality - pure and homogeneous.
-----------
No.
J. Bailly
à Paris
-----------
(signed: Jenny Bailly)

BAILLY, PAUL
Born at Mirecourt, 1844. Pupil of Jules Galliard and Vuillaume. Worked at Lille and Douai. Returned to Mirecourt 1871 - moved to Paris 1880 - lived at Brussels - had a brief sojourn in America - worked at Reims - came to London - worked for Harry Dykes at Leeds. Finally settled at Paris 1899. Died 1915.
Exceptionally gifted with rapid dexterity - produced about 2,000 specimens, each of exemplary neatness etc. Particularly expert copyist of the Italians from Maggini to Guarnerius; also built many replicas of the Vuillaume style, made from Swiss chalet pine, 200 years old. Especially successful in imparting a non-new tonal quality. Various shades of varnish - brilliant red perhaps favoured.
--------------------------------------------------------
Paul Bailly, luthier à Mirecourt, Vosges
Elève de J. B. Vuillaume de Paris
Luthier de l’Académie de musique de Douai
--------------------------------------------------------
------------------------------------------------------
10 Médailles-Or, Vermeil, Argent et Bronze
à Paris, Sydney, Melbourne, etc.
No. 1118. Paul Bailly Luthier
Ancien Elève de J. B. Vuillaume de Paris
197, rue de Grenelle, Paris. Année 1901
------------------------------------------------------
(Autographed on right-hand side).
----------------------------------------------
Ten Medals - gold, silver and bronze
Paul Bailly. Violin Maker
Pupil of Jean Baptiste Vuillaume
86 Wardour St.
London. W.
No. 799
----------------------------------------------
(P.B. double-circled).

BAKER, CALVIN
Worked at Boston (U.S.A.), 1870-1880.
Realised the ambitious hopes he set out with and by great perseverance achieved a well-deserved name. Produced over 400 instruments. Strikingly effective modelling of the Amatese as well as the Stradivarian. Dark medium-brown shaded varnish on the former and golden-yellow of transparent lustre on the others. Splendidly responsive tone.

BALDANTONI, GIUSEPPE
Born 1784. Worked at Ancona (Italy). Died 1873.
Had a preference for the large Stradivarius model. Flat arching perfectly graduated. Sound-holes less satisfactory, not having the beautiful sweep usually associated with the Italians. Purfling neatly carried out. Belly wood frequently of medium grain with a slight wavy line. Generally one-piece backs of broad figured maple. Ribs cut from small figured curly maple. Well designed scroll of similar material. Orange-brown shade of varnish. Tonal quality persuasively rich and soft, also very responsive and of considerable carrying-power. 1,000 dollars sometimes appended to the name.
Also produced of slightly smaller build. Body length
--------------------------------
Joseph Baldantonj
Anconae fecir Anno 1856
--------------------------------
(Decorative border).
--------------------------
Giuseppe Baldantoni
Ancona. 1809
--------------------------
---------------------------------
Josephus Baldantonus
Anconiae fecit Anno 1839
---------------------------------
----------------------------------
Joseph Baldantoni Anconae
fecit Anno 1831
----------------------------------
Some specimens dated as early as 1751. Not his handiwork however - plainly evidenced by the less skilful workmanship, therefore their source is indeterminable and must be attributed to vendors who place fictitious labels in anything resembling Italian emanation.

BALDONI, DANTE
Born at Numana (Italy), 1868. Migrated to South America. Worked at Buenos-Aires, 1900. Presented two of his violins to Kubelik and Von Vecsey.
Splendid modelling, generally Stradivarian. Sometimes used Argentine woods. Also violas and ’cellos of fine tone.

BALESTRIERI, PIETRO
Worked at Cremona, 1725-1749. Pupil of Stradivari according to label.
Stradivarian modelling of the Amatese period. Conceptions reflecting no discredit on the well-known prototype whether of outline or arching. Scroll liberally favoured with significance. Sound-holes certainly graceful, but such excellent details are occasionally marred by workmanship not of the smoothest. Frequently one-piece backs. Light shade of golden-brown varnish. Tonal quality fairly rich and clear.
----------------------------------------------
Petrus Balestrieri alumnus Antonii
Stradivarii fecit Cremonae, anno 17-
----------------------------------------------
---------------------------
Pietro Balestrieri
fece in Cremona 17-
---------------------------

BALESTRIERI, TOMMASO
Worked at Cremona, 1720-1750; and at Mantua, 1750-1772. Brother of the preceding.
Supposed to have been a pupil of Stradivari, but his work is many steps below that of his famous predecessor in the matter of luminous harmony and delicacy. Generally conceived very good modelling, full of interest, which in minor matters, has some affinity with the later productions of his teacher. He also was very variable and produced specimens quite carelessly finished in workmanship, yet (such is the craze for Italian emanations) they have received unparalleled indulgence from opulent amateurs.
Finest specimens broadly but rationally patterned without uncomfortable shoulders. Delightful arching of medium curve. Edges and corners natural and artistic. No whimsicalities attached to the scroll and no objectionable protruding of the boss. Full licence of hand in the cutting of sound-holes but judiciously controlled to thwart any tendency towards exaggeration of curvature.
Lapses from accuracy occasionally in the purfling - apparently cut freely by hand, and without aid of a special cutting tool - edge of groove (sometimes made too wide) often above the inlaid purfling. Belly wood mostly of very fine fibre. Backs, generally two-piece, sometimes of broad figured maple, but occasionally of much plainer material. Rib wood not always so rich in flame as the back. Best violins treated to two shades of varnish - a brilliant-looking yellow, and a softer orange-red of nice transparency and splendid texture. Some of the inferior specimens covered with equally inferior varnish of indifferent lustre and as indifferently applied - instances of the remarkable anomalies that proceed from the one individual.
Tonal quality on the whole completely satisfactory for solo performances not necessitating much virtuosity or bravurisms, and is particularly ‘at home’ in quartet playing where sonorous purity with just a touch of brilliancy is essential. One example, dated 1768, realised 3,000 dollars at New York (1925).
Produced a few violas of positive tonal charm. Also ’cellos of that splendid individuality immediately appealing to the connoisseur, and having an altogether winsome tonal penetrativeness captivating to the artist.
---------------------------------
Thomas Balestrieri
Cremonensis
Fecit Mantuae anno 1751
---------------------------------
(Decorative border).
Others two-lined, same wording, and without border. Spurious labels quite plentiful.
------------------------------
Thomas Balestrieri fecit
Cremona Anno 17-
------------------------------
Name sometimes fabricated to ‘Balestrici’.

BALL, HARVEY
Born 1818. Worked at Nashua (New Hampshire). Clock maker. Started violin making about 1865.
Made 70 violins - Stradivarian model in French style - very excellent workmanship.

BALLANTYNE, ROBERT
Lived at Glasgow, 1840; and at Edinburgh, 1850-1860.
Modelling rather inartistic, workmanship bordering on mediocrity. Made freak fiddles, some guitar-shape, snake-like sound-holes - generally one-piece backs. Light red varnish of indifferent quality.
---------------------------
R. Ballantyne
Fecit. Glasgow. 1844
---------------------------

BALLARINI, PIETRO
Succeeded to the business of Castellani at Florence, 1884-1914. Manufacturer of bowed instruments - also strings.

BALMFORTH, LEONARD PERCY
Born at Leeds, 1881. Died 1936.
Worked on the Stradivarian model. Backs nearly always two-piece. Deep red or orange-red varnish.
Also achieved considerable popularity for neat restorative work.
--------------------------------------------------------
L. P. Balmforth
(pupil of Paul Bailly-pupil of J. B. Vuillaume)
Maker
No. Leeds 19-
--------------------------------------------------------

BANKS, BENJAMIN
Born 1727. Studied the art with Peter Wamsley in London. Settled at Salisbury. Died there 1795. Buried in the churchyard of St. Thomas - tombstone near south door on right-hand side.
Finest instruments modelled on the grand pattern of Nicolò Amati, with a few modest modifications. Solid and robust construction - workmanship represents the quintessence of elaborate finish achieved by the soul-enthusiastic idealist. Exquisite arching, every point being complementary to the other - splendid margins, edges beautifully rounded, corners full and of true Amati style. Scrolls unfortunately not so ingeniously contrived. Grain of belly wood remarkably even, and of medium width. Varnish either of a dark plum-red or a beautiful purplish cherry shade, finely transparent, and offering a veritable picture on the prettily flamed backs, but sometimes less satisfactory on the bellies, where it somewhat clogs the fibre. Very agreeable tone with far-ringing penetration. Ideal for quartet playing.
Specimen dated 1755 - body length 14 inches, upper bouts 6-5/8; lower 8-1/8.
Also made Stainer-model instruments - probably for the trade as they lack the finish of the Amati models. Most of them slightly over 14 inches in length. Perceptible narrowing of upper part, arching somewhat exaggerated, accentuated ridge between f-holes - not faithful copies of the Stainer. Dark red varnish, thick and muddy.
A few large-size violas known - usual sonority of tone.
Several splendid ’cellos, large size, having a dark reddish-brown transparent varnish - also some of smaller size. Superb workmanship (especially the former) except the cramped-looking scrolls. Mellow tone of fair magnitude.
Two double-basses known, also some guitar-shaped fiddles.
---------------------------------------------
Benjamin Banks
Musical Instrument Maker
In Catherine Street, Salisbury, 1779
---------------------------------------------
------------------------------------------
Made by Benjamin Banks
Catherine Street, Salisbury, 1770
------------------------------------------
-------------------------------------------
Benjamin Banks
fecit
Catherine Street, Salisbury, 1775
-------------------------------------------
(Sometimes without the street and date)
---------------------------
Benjamin Banks
Catherine St., Sarum
---------------------------
(Sarum - ancient Latin name for Salisbury)
------------------------------
Made by Benjn. Banks
Wm. Salisbury, 1772 Jn.
------------------------------
(Written - Wm. Jn. - perhaps indicates a grandson)
‘B.B.’ stamped in large letters on both sides of the pin, sometimes below the button as well as the bottom of the back, also under the finger board, on the blocks and other interior places, and under the tailpiece. Occasionally stamped ‘B. Banks, Sarum’. Several specimens unstamped.

BANKS, BENJAMIN (2)
Born 1754. Son of the preceding. Worked at Salisbury, 1770-1780. Moved to Sherrard Street, London, but failed to obtain much patronage. Went to Liverpool. Died 1820.
Violins, violas and ’cellos - apparently only a few - not highly-finished portraitures by any means - varnish generally of inferior quality.
--------------------------------------------------
Made by Benjn. Banks
No. 30, Sherrard Street, Golden Square
From Salisbury
--------------------------------------------------

BANKS, JAMES
Born 1756. Son of Benjamin (1). Died 1831. Partner of his brother Henry (pianotuner etc.) in a general instrument business at Salisbury until 1811. Both subsequently went to Liverpool.
Violins of James show customary excellence of a well-trained hand. Amatese modelling generally. Similar reddish varnish to that used by his father, though occasionally of darker hue. Practised the deleterious method of chemicalising or baking the wood, consequently impoverished tonal power and quality.
---------------------------------------------------------
James and Henry Banks
Musical Instrument Makers and Music Sellers
Salisbury 1802
---------------------------------------------------------
-------------------------------
James and Henry Banks
Salisbury 1804
-------------------------------

BARBÉ, AUGUSTE
Worked at Mirecourt, 1875-1902. Made many excellent bows.

BARBÉ, FRANCOIS
Worked at Dijon, Avallon and Paris, 1840. Son of Jacques. Well developed modelling on broad Strad principles, but not so excessively large as many French instruments of same period. Workmanship receives some justification in beauty of gradation and general finish. Well selected wood; often wide grain for the tables; and prettily figured one-piece backs. Golden amber varnish of soft texture. Nicely balanced tone, rather broad and resonant. Sold for £20 (1920).
-----------------------------------
Faits par francois barbé
luthier breveté de la societé
melophile d’Avallon à Dijon
-----------------------------------
(written)
----------------------------
F. Barbé
Membre de la Societé
Melophile d’Avallon
----------------------------
(printed)
Name also branded inside.

BARBÉ, JACQUES
Born at Mirecourt. Worked there and at Avallon, 1800-1868.
Proprietor of a regimental canteen for some years, and made instruments at each place the garrison was stationed.
Greater part of instruments signed or branded
-----------------------
‘Barbé d’Avallon’
-----------------------
Workmanship shows no special fineness of resource.
’Cellos and double-basses superior.

BARBÉ. JACQUES
Son of the preceding. Worked at Mirecourt, 1880-1889.
Produced many splendid four-stringed double-basses. Copied standard models, but imparted certain ideas to achieve something other than prosaic transcripts.

BARBÉ, TELESPHORE AMABLE
Born at Dijon, 1822. Son of Jacques. Indebted to Derazey (Mirecourt) for successful initiation in the art. Worked for Jacquot at Nancy; also for Miremont, Gand and Bernardel at Paris, and finally for J. B. Vuillaume. Many of Vuillaume’s instruments passed through his hands for the deft little touches of minor parts. Died 1892.
Instruments invariably follow the Messie-Strad model. Red varnish of fine texture. Scroll, sound-holes, and every other part, have the utmost winning grace. Tone typically French, good specimens well worth £30 (1925).
He had a rapid facility, and could produce three or four instruments each week. Many of them, however, were made for other makers and firms and labelled accordingly. Intemperate habits robbed him of the ambition to establish his own workshop and to attain that unrivalled position which his genius could have given. Worked up to 1899.
-----------------------------------------------
Télesphore Barbé
Expremier ouvrier de J. B. Vuillaume
Medaillé à l’Exposition de 1867.
Paris
-----------------------------------------------

BARBIERI, ARMANDO
Born at Asti (Italy), 1893. Established at Forli, 1925.
Three models - Strad, Amati, and his own.

BARBIERI, FRANCESCO
Worked at Verona (Italy), 1695-1750.
Distinctly good model resembles that of an Andreas Guarnerius - workmanship not refined enough to please the fastidious - pretty and effective red varnish - tone generally leaves dissatisfaction.

BARBIERI, GIUSEPPE
Born at Medolla (Italy). Worked at Poggio, 1876-1896.
Maturity of style by a maker having the power of carrying out a subject in necessary detail and consistent completeness. Capital varnish both in texture and colour.
------------------------
BarbieriGiuseppe
liutaio e reparatore
Poggio, 1885
------------------------

BARBIERI, PAOLO DE
see DE BARBIERI.

BARBIERI, PIETRO
Worked at Mantua (Italy), 1821-1864.
Workmanship shows requisite steadiness of hand. Modelling exhibits artistic sobriety with a certain individuality. Transparent orange varnish put on with praiseworthy care. Reliable solo-instruments.
----------------------
Petrus Barbierius
Mantua, 1821
----------------------

BARGELLI, GIUSEPPE DI SALADINO
Born 1886. Established at Florence.
Produced 250 violins up to year 1950, many being superb realisations of classical model, others more or less with personal traits prove his facile versatility.
Also 25 violas, ’cellos and 6 double-basses.
Assisted by son Gaston (born 1921).
--------------------------------
Bargelli Giuseppe
fece in Firenze anno 19..
--------------------------------
(written)
------------------------
Giuseppe Bargelli
fece in
Firenze anno 1947
------------------------
(printed - also signature above name)

BARNABETTI, GERONIMO
Excellent examples of the French factory instrument. Ordinary workmanship but everything done with clever exactitude. Made in the workshops of Thibouville Lamy at Mirecourt from 1860. Probably worked alone previously. Tone varies according to the luck of the purchaser. Sale price sometimes reached £10 (1900), for one of the older specimens. Orange-red varnish, or old-brown.
Violas of 15 15/16 inch body length.
---------------------------
J.T.L.
Geronimo Barnabetti
Paris
Medio Fino
---------------------------
(Yellow paper with decorative border)
---------------------------
Geronimo Barnabetti
Paris 1854
---------------------------

BARNES AND MULLINS
Manufacturers and exporters, London, 1905-1930. Several English workmen employed.
Violins from £3 to £8 - various models and shades of varnish.
--------------------------------------
Made in London by hand.
. . .
Varnished by a secret process
which greatly enhances the
volume and quality of Tone.
Supplied only by the
Sole Proprietors
Barnes & Mullins
No. 9
--------------------------------------
(With signature across the label).

BARREL
Made at the Thibouville-Lamy factory, Mirecourt, 1900-1930.
Acceptable model, fine wood, red or brown varnish. Neat workmanship, satisfactory tone. 6 guineas (1920).
------------------------------
Barrel
d’après A. Stradivarius
------------------------------

BARRETT, JOHN
Worked in London, 1714-1733.
Favoured the Stainer model, but indulged in exaggeration by increasing the length and slightly lessening the width. Prominent arching, and much grooving near the edges. Workmanship not particularly interesting. Quaint looking sound-holes, the lower turn having a long sweep. Ink lines instead of purfling, and very acute fluting. Nicely rounded edges on some instruments. Cramped looking scroll. Varying varnish, sometimes of a warm yellow or brown tint, but more often of a hungry cold yellow. Wood generally of good quality. Sweet tone of medium quality but easily swamped by a modern vigorous player.
Taken as a whole these instruments belong to the unambitious class. Generally valued at £15.
----------------------------------------------
John Barrett, at the Harp and Crown
in Piccadilly, 1722
----------------------------------------------
----------------------------------
Made by John Barrett
at Ye Harp and Crown
in Pickadilly, London, 1731
----------------------------------
Produced several good toned ’cellos highly favoured by amateurs. One violin known of flatter arching, wider dimensions, ordinarily graceful sound-holes, and golden-red varnish, attributed to this maker.

BARTON, GEORGE
Worked in London, 1772-1790. Repairer, supplied instruments for music shops. Altogether of slight consequence. Very ordinary workmanship often quite slovenly. Poor quality of brown varnish obliterating any idea of a possibly decent tone. Also made guitar-shaped violins, and violas (body length, 15.3/16) sometimes branded.
----------------------
George Barton
Elliot Court
Old Bailey, 1780
----------------------

BARTON, JOHN
Brother of George. Worked in London, 1780-1810. Employed in 1784 by C. & S. Thompson.
Variable workmanship. Best instruments, usually dated after 1790, belong to the Grand-Amati model. Altogether splendid arching with perfect grading. Bold scroll. All outside details well finished, but sometimes very rough and crude inside; also gauge-cuts under the breast frequently go across like a ploughed field. Splendid wood, finely even and straight grain for the top, and often a onepiece back with a nicely marked figure of broad curl running on the slant from left to right. Neat purfling. Golden-brown or yellow varnish.
Other productions of flatter arching with a kind of moat near the edges. Insignificant scroll hurriedly and carelessly shaped. Straight, wide, and decidedly ugly sound-holes. Poor quality of wood, sometimes very coarse. Dirty yellow varnish.
Maker’s name occasionally to be found on the breast under the finger board.
----------------------------
John Barton
Maker. London, 1810
----------------------------
( written)
----------------
Made by
John Barton
1780
----------------

BARTON, JOSEPH EDWARD
Born in Lincolnshire, 1846. Made his first instrument 1869. Ultimately settled at Llanelly (South Wales), working there, 1925. Won the gold medal at the Barry Eisteddfod.
Enthusiastic maker, workmanship belonging to the best. Early instruments give a suggestiveness of originality, but later ones follow the Stradivarian model. Scroll and sound-holes forcibly drawn. Entire model has vigour and free fling - in fact everything artistic. Eyes attracted by the contrast of colour in the varnish. Always excellently figured wood. Tone satisfies the most fastidious.
--------------------------
J. E. Barton
Maker. Llanelly.
N. J.E.B., 1917. 18
--------------------------

BARZONI, FRANCOIS
Trade instruments made at Château-Thierry (France), exclusively for Beare & Son of London, 1880-1920.
Modelling taken from best example of Cremonese art, with perhaps a preference for the Guarnerius model. Carefully selected Swiss pine and handsome sycamore. Various grades. Cheaper ones invariably varnished yellow; better class with richer reddish-brown. Thousands floating about - generally good of their class - but the upper bouts of the cheaper kind are not always nicely outlined.
Also violas, ’cellos, and double-basses.
---------------------
Francois Barzoni
---------------------
--------------------------------------------
Francois Barzoni
Manufacture spéciale de la Maison
Beare & fils à Londres
B&S L
fecit-anno 1908
--------------------------------------------
Each instrument branded F.B. at foot of neck. Bows also stamped ‘Barzoni’ - well-made affairs.

BASSIOT, JOSEPH
Excellent ‘trade’ violins at small cost imported by Beare & Son of London. Finely-bold modelling somewhat Guarnerian. Red varnish of dark tint and nicely shaded though perhaps too bright. Considerable attention given to sensible and graduated thickness of the plates.
------------------------------
Modele
Joseph Bassiot, Luthier
B.S. Lyon. Anno. . . .
L.
------------------------------

BASTIEN, E.
Worked for Deroux at Paris. Later settled at Nancy. Died 1910.
--------------------------------
Reparé par
E. Bastien à Nancy 1905
--------------------------------

BAUER, ADOLF
Born 1840. Died 1873. Son and pupil of Martin. Worked for some time with J. B. Vuillaume.
Many instruments similar to those of the great Frenchman except in the varnish. All details of workmanship skilfully and carefully calculated. Shades of varnish all thoughtfully harmonised. Unfortunately he artificially dried the wood, and the tone has now lost its power Even the necks are warped owing to the strength being taken out of the wood. Frequently imitaied the Guarnerius-model Vuillaume owned by Edmund Singer of the Royal Orchestra, Stuttgart.
--------------------------------
Adolf Baur fecit
Stuttgart. anno 1868 A+B
--------------------------------

BAUR, MARTIN
Born 1793. Died 1875. First repairing shop to be established in Stuttgart, 1824. Maker to the Court orchestra.
Modelling forms a judicious compromise between Italian and French. Robustness of the scroll seems slightly forced. Beautiful varnish. Greatly patronised by Molique (professor there) who asserted they were the finest toned new violins of his time.
Also produced many rather heavy but finely balanced bows.
------------------------------------------
Martin Bauer, Kgl: Hofinstrumen-
tenmacher in Stuttgart
------------------------------------------
------------------------------
Martin Bauer fecit M.B.
Stuttgart anno 1863
------------------------------

BAUR, T.
Worked at Mirecourt, 1888-1905.
Instruments partaking of the ‘commercial’ character in every essential quality of that category. Light brown shade of spirit varnish - five guineas.
-----------------------
Lutherie artistique
T. Baur. Luthier
Mirecourt 1892
No.
-----------------------

BAUSCH, LUDWIG CHRISTIAN AUGUST
Born at Naumburg, 1805. Pupil of Fritzsche at Dresden, 1818-1822. Worked for Engleder at Munich 1822. Established workshop at Dresden 1826-1828; at Dessau 1828-1839; at Leipzig 1839-1860; at Wiesbaden 1861; and finally at Leipzig 1863. Died 1871.
Made violins in early days, but did not add much lustre to that particular art. Splendid workmanship but ideal quality of tone could not escape from all his careful measurements.
Also produced several pretty guitars, nicely ornamented and varnished yellow.
---------------------------
Ludwig Bausch
in Neustedt, Dresden
Ao. 1820. No. 6
---------------------------
(written)
------------------------
Ludwig Bausch
Neustedt, Dresden
1825
------------------------
Came in contact with Spohr (1836), who gave him some sound advice on the construction and requisite balance of bows. From that date he practically devoted his talent to rivalling that of Tourte. Received silver medal at Dresden Exhibition, 1840. Beautifully made bows, unusually strong sticks, yet full of elasticity and carefully modulated balance. Many of them slightly longer than those of the French, and often dark-chocolate round sticks. Ultimately sobriquetted as the ‘German Tourte’. Joachim, Wilhelmj, and other Germans preferred them to the French, but perhaps this was due to patriotism. Stamped ‘Bausch. Leipzig’, or ‘L. Bausch, Leipzig’. Many stamped on stick under nut.
Several present-day German firms export hundreds of bows branded ‘Bausch’.

BAUSCH, LUDWIG
Born 1829. Died 1871. Son of the preceding. Worked at New York for some years. Finally settled at Leipzig and ultimately (1860) succeeded to the business then known as BAUSCH AND SONS.
Principally made violins. Not remarkably successful. Tone lacks brilliancy. Contour not architecturally perfect.
------------------------------
Ludovicus Bausch filius
fecit Lipsiae. anno 18-
------------------------------
(With double-circled monogram)

BAUSCH, OTTO
Born 1841. Died 1875. Brother of the preceding. Pupil of father; also worked for Vauchel. Succeeded to the business at Leipzig, 1871.
Lacked the abilities of his relatives, and produced little of real merit. Pretty backs. Orange-red varnish.
----------------------------
Otto Bausch
filius Ludovici sen:
et frater Ludovici jun:
fecit Lipsiae Ao. 18-
----------------------------
(Initials double-circled)

BAZIN, CHARLES
Born 1907. Son and pupil of Louis. Established own premises at Mirecourt 1946. Bows unquestionably well adapted to needs of any soloist. Stamped ‘C. Bazin’.Very difficult to distinguish them from those of his grandfather C.N.

BAZIN, CHARLES NICOLAS
Producer of many bows much in demand by French players. Established workshop at Mirecourt 1869. Died 1915.
Bows forming a resuscitation of the manner of Tourte. No weakness anywhere. Much in demand by French players. Stamped ‘C. Bazin’.

BAZIN, GUSTAVE
Son of Charles. Worked at Mirecourt 1889. Died 1920. Worked for Collin-Mézin.
Surmounted all the insuperable difficulties of violin and ’cello-making. Splendid examples of French work. Of service to the best orchestral players. Very commendable varnish. Name sometimes spelt Bazino, thus giving it an Italian designation.

BAZIN, LOUIS
Son and successor of Charles. Born at Mirecourt 1881. Started in twelfth year. working there 1929.
Magnificent reputation for bows. Perfectly made affairs, richly mounted (some ivory mounted instead of silver), Pernambuco sticks, often splendid imitations of the Tubbs. French virtuosi reciprocate the maker’s genius by widely advertising the products of their countryman. Stamped ‘Bazin’ - sometimes in two places. No better bows made by any contemporary maker.

BEARE, JOHN AND ARTHUR
Expert connoisseurs, dependable valuers, and repairers in Wardour Street, London, 1893-1950. Excellent bows stamped with their name.

BECCHINI, RENZO
Born at Pisa, 1911. Worked at Livorno.
First instrument dated 1932. Modelling inspired by that of a Strad. Wooded, etc., for natural tonal maturity to occur in future years, and quickened by a rich oil varnish of yellow or red shades. Also first-class repairer.
-------------------------------
Renzo Becchini - Pisano
fece in Livorno - l 947
op XVI
-------------------------------
(shield on left)

BEDOCCHI, MARIO
Born at Reggio Emilia (Italy), 1880. Self-taught.
Satisfactory Cremonese modelling and workmanship - nothing of questionable merit. Discretion exercised in the application of good texture varnish; various shades from yellow to brilliant red. As time advances, many examples will find enthusiastic admirers.
First instrument dated 1897. Produced 200 violins, 12 violas, 8 ’cellos, and 8 double-basses up to year 1948.
------------------------------
Mario Bedocchi
fece
Anno 19.... in Reggio-E.
------------------------------
(printed)
------------------------------------
Mario Beddocchi B.M.
fece
l’annó 19.... in Reggic Emilia
------------------------------------
(written)

BEEBE, EMMETT W.
Son and pupil of the preceding. Known as Beebe Junior. Worked at Muskegon, first with his father, and later formed his own establishment.
Similar variegated modelling like that of his parent - but slight differences in contours, arching, curves, edges, and sound-holes, noticeable only to experts. Prolific productivity - many of them look almost like genuine Italians, and have a remarkably warm and sensitive tone, together with considerable power. Clear peach-red or amber-brown shades of varnish.
------------------------
Emmett W. Beebe
(Beebe Jr.)
Muskegon. Mich.
1911
------------------------
(written)
----------------------
E. W. Beebe
Muskegon. Mich.
No. 183. 1925.
----------------------
(written on brown paper).

BEEMAN, HENRY W.
Born 1858. Amateur. Resident at New Preston (U.S.A.) Expert woodworker. Produced 60 violins and 10 ’cellos between years 1900 and 1940. Generally Strad modelling. Good workmanship, choice woods, fairly brilliant varnish, and satisfactory tone.
An enthusiast who was happily recompensed by making presentations to friends rather than advertising them for sale.

BELLAFONTANA, LORENZO
Born at Genoa, 1906. Studied with Cesare Candi. Also a capable violinist. Won medals at various expositions.
Strad and Guarnerian modelling, also one or two more individualistic. Ruby red varnish with golden background.
Estimable bows stamped with his name.
------------------------------
Laurentius Bellafontana
Fecit Genuae
A.D. 1938. N.
LB
G
------------------------------
(With signature, and very dark border).
--------------------
L. Bellafontana
Genova
--------------------
(Branded)

BELLAROSA, VITTORIO.
Born 1907. Son of R. Studied (in 15th year) with Vito at Rotello. Made 50 violins before reaching 20th birthday. Further studied at Mittenwald and Rome before returning to Naples. Modelling after the style of Januarius Gagliano. Independent of fine architectural details, there is something about the tone which excites interest. Generally an orange shade oil varnish - sometimes a golden-reddish spirit varnish on a base of dragon’s-blood and some resins.
---------------------------------------
Vittorio Bellarosa
Napoli Anno 1950
Via Michele Cammarano N. 10
---------------------------------------
(Decorative border signature on left).
--------------------------------------
Vittorio Bellarosa - Liutaio
Unico allievo del Mo. Liutaio
Cav. Rodolpho Fredi di Roma
fece l’anno 1932
in Napoli
--------------------------------------
(with signature on left).
Also design of two hippocampus (Grecian mythical sea-horse) on each side of the tailpiece button.

BELLOSIO, ANSELMO
Pupil of Santo Seraphino. Worked at Venice, 1740-1789.
Instruments occupying a rather insignificant place among the galaxy of renowned Italian makers. Broad and flat model, yet length is sometimes 3/8 inch shorter than usual. Workmanship unequal and often faulty. Intensely-marked pine and pretty maple. Frequently a dull and thick varnish, but occasionally one of a fine deep red-brown. Tone does not impress as being very penetrating, but is large enough for small halls, though its quality is decidedly not overpoweringly captivating. Also produced several ’cellos.
-------------------------------
Anselmus Bellosius fecit
Venetiis, 1 776
-------------------------------
(large size; decorative border)
---------------------------
Anselmij Bellosil fecit
Venetiis, 17..
---------------------------

BELTRAMI, GIUSEPPE
Worked at Vescovato (near Cremona), 1870-1880. Commercial products now (1925) emanating from the firm of Aristide Cavalli at Cremona, though dated as originally.
Very ordinary designs, medium arching, commonplace scroll, slanting sound-holes, dark-brown varnish, strong tone. Seven guineas.
-------------------------------------
Joseph Beltramius
Faciebat Cremona anno 1872
-------------------------------------
A.C. - initials of Aristide Cavalli.

BENOZZATI, GIROLAMO
Born at Cittadella (Padua), 1860. Started as carpenter, gilder and house painter. Studied violin making with Engenio Degani at Venice. Ultimately lived at Rome.
Good transcepts of classical models. Future generations will undeniably cherish them.

BERGER, KARL AUGUST
Born at Basel (Switzerland), 1893. Studied with Postiglioni at Naples; worked for Silvestre and Maucotel at Paris; and at Mittenwald. Established at New York, 1926. Built first instrument, 1922. 15 instruments produced yearly.
Some specimens splendidly modelled on Stradivarian lines. Others somewhat Guarnerian with a strong infusion of original ideas concerning the thicknessing. Tonal-quality of the latter particularly sympathetic. Accurate discrimination in choice of wood, minute consideration of the different acoustical relations, and both plates perfectly reconciled in attunement. Varnish of own preparation applied with no inconsistencies of brush, and in shades of light-brown to red. Violins well paraded by the best symphony orchestra players in the United States.
------------------------
Karl August Berger
Liutaro
Basel. New York
------------------------
(beautifully engraved)
Bearing (1) on the left, a portrait of his uncle who was a great painter; (2) on the right, design of a dancing-girl representing harmony and beauty; (3) in the centre, a plaster-cast face of the maker and his initials C.A. B.

BERGONZI, MICHAEL ANGELO
Son of Carlo. Born 1722. Died 1770. Worked at Cremona.
Instruments having several imperfections deviating from the exactitude of father. General proportions of contour point to a heaviness foreign to real artistry. Body length 14 inches; upper bouts 6-1/2; lower 8. Flatter model than that created by father, imperfect outline. Middle bouts exaggerated and set deeper than usual - factors possibly antagonistic to thc realisation of theoretic perfection. Shaky purfling lacking decision of hand. Slightly unequal sound-holes, moderately graceful, and longer than those of a Carlo Bergonzi. Varnish often thick and hard, but a few specimens are known having a better quality and colour - orange-red. Usually curly maple of small figure for ribs and back - for breast, not always judiciously chosen. Tone often of that densely nasal kind so repellent to soloists; but there are a few specimens advertised from time to time for which a fine mellow tone quality is claimed.
Produced two models - one large, one small. Workmanship in both gives a feeling of massive strength, and though there is an individuality of a certain kind it is not one in which highly finished craftsmanship shines. Some of his violins have had to have a small sound-post patch added by a repairer. Notwithstanding the various defects above recorded, exorbitant prices are catalogued.
Double-basses really very fine and powerful in tone, and eagerly sought after. Lord Howard de Walden possessed a Lutina (Pandurina), dated 1755, inlaid and ornamented with the ‘arms’ of the Dosi family.
Today’s prices £600 to £800.
-------------------------------------
Michel Angelo Bergonzi
figlio di Carlo
fece in Cremona l’anno 1746
-------------------------------------
--------------------------------
Michel Angelus Bergonzi
fecit Cremonae 1753
--------------------------------

BERNARD, ANDRÉ FLORENT NICOLAS
Born at Liége (Belgium), 1870. Passed through a thorough training with Gand and Bernardel at Paris. Established own workshop at Liége, 1889, and adopted the sign ‘A la Guitare royale’. Received medals, gold and silver, at Paris, Brussels, Liége and Bordeaux Exhibitions.
Absolutely a master craftsman. Modelling and varnishing somewhat similar to the Nicolas Lupot style, bringing all possible delight to the eye. Tonal qualities worthy of exploitation by any soloist.
Specialist in violas d’amore and viol-da-gambas, with cleverly arched backs, and a remarkably fine imitation of old varnish.
-----------------------------------------------------------------------
Maison fondée en 1889
André Bernard
Luthier
Fabricant d’instruments de musique à cordes.
Médailles Or et Argent
Expositions internationalles de Paris 1900, Brussels 1897.
Liége 1905
Ex-ouvrier de la maison Gand & Bernadel
Luthiers du Conservatoire de Paris.
Liége Année 1925. Numéro
-----------------------------------------------------------------------

BERNARDEL, AUGUSTE, SÉBASTIEN PHILIPPE
Born at Mirecourt, 1798. Remained there as apprentice until 1820. Proceeded to Paris. worked for Nicolas Lupot and finally for Gand. Established own workshop in the rue Coquillière, 1826. Entered into partnership with two sons, 1859, firm called Bernardel et fils. Retired 1866. Died at Bougival, 1870.
Made many strongly-built instruments - now mounting the steps of steadily increasing prices. Those of Stradivarius modelling are credited as best productions; but some people have preferred those of Guarnerius principles. Maggini models have a body length of 14 7/16 inches. Really handsome wood covered with a lovely oil varnish, usually of reddish tinge. None of his violins show the slightest falling-off from the splendid sense of proportion suggested by a cunning scale of gradation. Scrolls never disfigured by the introduction of anything feeble or inartistic. The eye is also captured by the beauty of the sound-holes. To the absolutely just value of the tone a gold medal may be awarded, although, naturally, there is a certain element of comparative newness in the timbre of it. This, however, is wearing away with age and playing.
Of course, some makers attain a higher position in the scale of opinion than others. Many instruments are not viewed through the calm medium of unbiased judgment. We all have our prejudices. Many persons purchase certain violins simply because of certain names. There are hundreds of us who only believe in the Italian school, and French violins have been repeatedly criticised as not having the sweetness, warmth, and pliability of the Italians. But we have never yet seen an Italian violin, of the same moderate price and of the same period, that approaches a Bernadel either in appearance or tonally.
Violins with a remarkably finely full resonance, and a quick mellowing refinement. The best symphony orchestral players in France use them because the rapid passages come clearly through the mass of sound. This is more than can be truthfully stated of many Italian violins. A good judge must possess taste and discretion, fostered by enthusiasm for wealth of tone as well as for purity. And it is as well to explore the wide surface of enquiry into the value of the tonal qualities of the various schools.
Occasionally Bernardel unwisely experimented with various chemical preparations of the wood in seeking to arrive at the so-called Italian tone. Also sometimes used American wood but failed to attain his ambition with it even though he saturated it with some coloured preparation of his own concoction. Varnish generally red or brown of really excellent quality, thickly put on.
’Cellos and double-basses, robustly constructed, always in great demand, and rank with the finest in France. Violins £80 to £100; ’cellos £150 to £200.
---------------------------------------
Bernardel, luthier
ex-ouvrier du St. Lupot
rue Coquillière, No. 44 à Paris
l’an 1826
---------------------------------------
----------------------------------------------
Bernardel, Luthier Elève de Lupot
Aux Croix des Petits Champs No. 23
à Paris. 1835
----------------------------------------------
-------------------------------------------
Medaille d’or et d’argent
aux Expositions de 1844 et 1849
Bernardel, Luthier Elève de Lupot
rue Croix des Petits Champs, 21.
à Paris. 1855
-------------------------------------------
This has an autograph signature inscribed diagonally on the right-hand side. Sometimes inserted fictitious labels in his Guarnerius and Gagliano copies, but signed his own name in ink on the inside of the back.
------------------------
Reparé par
Bernardel. Luthier
------------------------
-------------------
Bernardel ainé
à Paris, 1833
-------------------
Also known as Bernardel père.

BERNARDEL, GUSTAVE ADOLPHE
Brother of the preceding. Born at Paris, 1832. Died 1904. Associated with father, brother and Gand. Succeeded to the business of Gand, 1892, and became maker to the Conservatoire, to the opera orchestras, and to the Ministry of Fine Arts. Chevalier of the Legion of Honour, 1900.
Fine-wrought Lupot-Strad modelling. Supremely neat workmanship. Red varnish similar to that used by father, also a red with brownish tint.
The talent which his instruments proclaim ought to be widely recognised and the area of his fame extended, for he truly maintained the prestige set up by his parent. Tone very invigorating and sonorous.
Also produced many bows. Invariably octagon sticks of dark brown colour. Often realised five guineas (1920).
----------------------------------------------
Gustave Bernardel
Luthier du Conservatoire de musique
No. .... Paris. 1891
----------------------------------------------
------------------------------
Gustave Bernardel
à Paris. 1896. No. 1751
------------------------------

BERNARDEL, LÉON
Born at Paris, 1853. Son and pupil of Ernest Auguste. Worked with Derazey, and with Gand. Founded own establishment, 1899. Decorated officer of the French Academy, 1900. One of the directors of Couesnon and Co. (large exporters of musical merchandise) Paris, 1914.
Perfect modelling, outline, scroll, and sound-holes, all following the design known as the Lupot-Strad. Splendid oil varnish somewhat similar in texture and colour (red) to that associated with the Gand violins. Thoroughly fine-toned creations extensively used by French players. Labels of those made entirely by himself.
-------------------------------
Léon Bernardel. Luthier
à Paris
-------------------------------
-----------------------------------
Léon Bernardel. Luthier
40 bis. Faubg. Poissonnière
Année 1899. Paris. No. 3
-----------------------------------
Later labels have the word ‘Monopole’ within a design, and are autographed ‘L. Bernardel’. These instruments were priced by him at £30. Others named ‘Conservatoire’ catalogued at £38.
Violas, ’cellos, and double-basses likewise bear these names.
Name is also associated with two kinds of ‘trade’ merchandise:
(1) Students’ violins, priced from £2 to £7, and bearing the label
------------------------------
Choisi par
Léon Bernardel, Luthier
à Paris
------------------------------
(2) Artists’ violins - six series - £8 to £18 in value, labelled
-------------------------------
Fait sous la direction de
Léon Bernardel, Luthier
à Paris
-------------------------------
(3) Bows, stamped ‘Léon Bernardel’. Today’s prices up to £15.

BERNARDEL, LÉON
Son of the preceding. Born 1882. Established at Mirecourt, where he produced much of his father’s exportations.

BERNARDEL, RENÉ
Trade name of violins made at Mirecourt for the Parisian firm known as ‘L’Industrie musicale’ in the Faubourg Poissonnière. Claimed to be made entirely by hand.
Bows stamped ‘René Bernardel-Peccatte’. £10 to £15.

BERTHOLINI, NICOLAS
Violins accurately modelled on the established principles of the great masters. Built by one of the many most skilled craftsmen at Mirecourt, who probably employed several assistants as the yearly output since 1880 has been enormous. Various standards of excellence from two to ten pounds.
Style and workmanship not inferior to the several well-known emanations from the French industrial town. Usually red varnish brilliantly polished - occasionally dark-brown. Made from specially selected and well-seasoned wood; generally one-piece backs of pretty marking. Very serviceable instruments for the average player.
Some early specimens exorbitantly priced at £20 by certain dealers.
------------------------------------
Nicholas Bertholini
Luthier de S. M. l’empereur
et de la Cour du France
Fecit Anno 1880
------------------------------------
(sometimes bearing a design on the left)
Many examples autographed. Also occasionally anti-dated to 1805 and thereabout.

BERTOLAZZI, GIACINTO
Born at Santia (Piedmont), 1910. Pupil of Peluzzi at Milan, 1837. Also a capable violinist.
Cremonese models and one more personal, each showing exclusively that he has all necessary aptitude. Especially attractive varnish.
----------------------------------------------------------
Liuteria eseguita sequendo le Teorie costruttive
del Prof. Euro Pehuzzi
Giacinto Bertolazzi Fece
in Milano l’Anno, 1945 - N. 17
----------------------------------------------------------
(unusually long, with monogram)
--------------------------------------------------------
Ad normam constnuctionis Prof. Euro Peluzzi
Hyacinthus Bertolazzi fecit
Mediolani Anno Dom, 1948
--------------------------------------------------------
(with monogram)
Also branded G.B. M (beautifully scrolled).

BETTS, ARTHUR
Brother of John Edward, and successor to his business. Violinist and teacher - not an actual maker, but employed several workmen to repair and make instruments.
Stradivarian modelling principally: body length 14-1/8 inches; upper bouts 6-3/4; middle 4-5/8; lower 8 3/16; ribs 1 3/16.
------------------------------------------
Arthur Betts, No. 2 North Piazza
Royal Exchange. London, 1837
------------------------------------------

BETTS, EDWARD
Nephew of John Edward. Known as ‘Ned’. Worked with uncle. Died 1817. Capitally trained by Richard Duke.
Well copied all the Cremonese violins, but had a strong predilection for the Nicolò Amati. Outline absolutely the personification of grace. Edges and corners delicate and neat. Arching faultless in graduation. Finely finished scroll, perhaps lacking individuality, as though made by machinery. No touch of discordancy pervades the sound-holes. Purfling matchless. Whole contour a picturesque edifice. Subdued shade of transparent golden-brown varnish. Tonal quality generally bright, resonant, rather sweet, but never strong.
Strad-modelled specimens not so free from disturbing elements of unevenness and immaturity of tone.

BETTS, JOHN EDWARD
Known as ‘Old John Betts’. Born at Stamford (Lincolnshire), 1755. Came to London and studied the art under Richard Duke. Soon developed a keen business capability, opened inviting premises, and at different periods, employed notable men such as Panormo, Fendt, Carter and Tobin. Died in 1823. Buried at Cripplegate Church.
Made few instruments himself - early productions characterised by Amatese outline and arching. Sound-holes rather inartistically wide. Scrolls always neatly finished. Excellent wood in quality and prettiness. Subsequent instruments bearing his label were most probably made by the above-mentioned workmen. Advertised that he ‘makes in the neatest manner, violins the patterns of Ant. Stradivarius, Hieronymus Amatus, Jacobus Stainer and Tyrols. Equal for the fine, full, mellow tone to those made in Cremona’. But the larger proportion of instruments emanating from his workshop were Amatese, and he instructed assistants to continue working in the ‘metier’ which brought him the best reputation and quicker increased his banking account. Doubtless quite justified in not striking out for the patch of originality, apparently being conscious of his own fluctuating skill, as well as not underrating the caprices of the public.
These instruments, whoever actually made them, give the index of the varying planes of the Amati structure. Arching beautifully done, ease and grace very discernable about the waist curves. Workmanship wholly refined. Scroll of fine volute and a perfect approach to the boss - often of broad aspect. Sound-holes also of ideal curvature. Frequently backs of an especially beautiful close-striped figure. Varnish applied as though worn and aged. Tone never brilliant or strong, but often exceedingly suave, warm and of silvery clarity.
Violas sometimes inlaid with various decorations.
’Cellos perhaps superior to the violins, and steadily gaining in the estimation of experts.
---------------------------------------
John Betts, No. 2 North Piazza
Royal Exchange, London, fecit
January 9. 1782
---------------------------------------
------------------------
Jo. Betts, No. 2
near Northgate the
Royal Exchange
London, 1789
------------------------
Usually branded ‘Betts London’ on button. This has been fictitiously used in a wholesale manner, and may be seen on common factory fiddles. Many specimens with a Betts label are often of the five to ten-pounds inferior order, and indubitably not genuine, not even as having been made by the most elementary of the many apprentices in his workshop.
’Cello bows also stamped ‘Betts’.
English violins ought to and deserve to have better recognition. The failure of our older makers to successfully compete with those of other countries was not caused by indifferent talent, for they availed themselves of every opportunity of seeing and measuring Cremonas and Tyroleans, and had sufficient skill to minutely copy every detail. Why they were so frequently ignored has never been satisfactorily ascertained. Perhaps it was the invasion of so many continental players who impressed possible purchasers with the tone of their instruments - in consequence, these admirers naturally desired violins with a similar tone, forgetting that the artist is often the special tone-producer rather than the instrument itself. So, of course, as it was impossible for everybody to have Cremonas, they fell back on the Tyrolean, not much troubling about anything except that they came from a foreign land. Thus an innumerable quantity, often of weak and inferior structure, found safe harbourage in this country, springing up and taking root with astonishing rapidity to supply the demand of the many credulous purchasers - and ever since inundating our markets. Many of them have feeble tone, nothing particular in the way of contour, and frequently very much bruised.
Yet they were preferred to the English productions - instruments superior from every point of view to anything from the Klotz-world. Perhaps all this had a serious effect upon the financial affairs of some of our makers, and as pecuniary difficulties often prove a stumbling block to the successful practice of any art, several of them eventually became dealers, thus still furthering the popularity of foreign goods. Today’s prices, £60 to £100. ’Cellos £120.

BEYER, GEORGE W.
Born at St. Paul (Illinois), 1887. Studied and worked with Albert Karr and Johnson. Established at Bloomington (Illinois), 1926.
Produced first instrument 1912. Only built two yearly owing to repair activity. Stradivarian modelling. No label - name stamped on the back.

BlANCHI, NICOLÒ
Born at Genoa, 1796. Pupil of, and worked for Ceruti, Guadagnini, and Pressenda. Settled in Paris, 1842, attained great reputation as a repairer and expert at his establishment in the Rue Croix-des-Petits-Champs. Had a serious quarrel with other Parisian makers, 1868 - returned to Genoa. Finally established himself at Nice, 1872 - died there, 1881.
If his instruments fail to excite the wonderment of the buyer, they are at least so excellent that the most fastidious connoisseurs can hardly take exception to any particular point in workmanship.
Stradivarian, Guarnerian of rather large proportions, and Amatese models. Frequently copied to give the appearance of old instruments. Sound-holes and purfling show freedom of manipulation. Scroll exhibits all the experience of practised cleverness. Those who have a true sense of the beautiful will appreciate the texture of the brown varnish. Inside work most carefully and minutely finished. Tone generally comes up to the fair standard of modern Italian violins. ’Cellos built on models likely to give the best tonal results. Invariably covered with a rich orange or deep red varnish.
Viol-d’amours of seven strings and seven sympathetic strings - masterpieces of decorative work.
Violins catalogued at £45 (1930). Orchestral players who want a strong penetrating tone without absolute newness will here find something to meet their requirements. He was succeeded by his foreman François Bovis.
----------------------------------
Nicolò Bianchi
Répare par Bianchi Nicolò
luthier décoré
in Parigi, 1850
----------------------------------
(sloping lettering)
(surrounded by a thin line)

BIGNAMI, OTELLO
Born at Bologna, 1914. Studied with Bonora, and followed his model. Exhibited at Cremona, 1949.
Satisfactory design and workmanship. Amber varnish.
--------------------
Bignami Otello
fece in
Bologna
--------------------
(magnificently artistic design, with signature and number of instrument)

BIMBI, BARTOLOMEO
Worked at Sienna (Italy), 1753; and at Florence 1760-1769.
Smallish model, somewhat with the high-built characteristics of a Stainer. Very handsome wood. Orange-red varnish of attractive quality. Rather charming instruments for amateur lady violinists whose performances are generally restricted to drawing-rooms.
-------------------------------------
Bartolomeo Bimbi Florentinus
fecit l’anno 1760
-------------------------------------

BINA, JOHANN NEPOM
Born at Prague, 1826. Studied with Lehner. Subsequently worked for several makers in Austria and Hungary. Lived at Prague from 1853 to death, 1897.
Instruments presenting several points worthy of commendation, and bear comparison with those of any Prague maker of the period. Outline, arching, and general contour characteristically belong to the Prague school. Varnish (rather ingeniously applied) completely satisfactory in texture and colour.
-----------------------------
Johannes Bina
Prague
fecit anno Domini. 18-
Opravil Reparirt Bina
J. Bina v Praze
-----------------------------
-----------------------
Johann Bina
in
Prag anno 1877
-----------------------
-------------------------------------------------------
Johann Bina
Musikinstrumentenverfertiger und beeideter
Schätzer, Anno 1885
Prag
Wenzelsplatz No. 5 neu
-------------------------------------------------------

BIRD, RICHMOND HENRY
Born at Walsall, 1869. Worked at Wolverhampton until 1914. Chief maker and repairer for Rushworth and Dreaper at Liverpool since 1914.
All Cremona models successfully imitated. Every conceivable shade of varnish employed. Particularly accurate workmanship, inside and outside. Minute attention given to graduation of the plates. Accredited with unravelling the mystery of Italian tone, and has achieved fine results in evenness, brilliance, and sonority. All violins, violas and ’cellos made by him and his pupil assistants at Liverpool bear the name of ‘The Ardeton’.
Label of earlier specimens:
-------------------------------
Richmond H. Bird
81 Raleigh Rd.
No. 50. Wolverhampton
-------------------------------
March 1913

BISCH, PAUL
Born at Mirecourt, 1893. Pupil of Mougenot; also worked for Caressa and Français at Paris.
Modelling somewhat similar to that of a Gand. Wins attraction by its refinement. Workmanship has all the subtlety of experienced skill. Scroll, sound-holes and purfling, all neatly done. Red-brown oil varnish on yellow ground - of sparkling effect. Tone completely in accordance with modern requirements.
Won the Grand Prize at the Exposition de l’Artisanat, Paris, 1927.
--------------------------------------
Paul Bisch. Luthier No.
Rue Chantaire, Mirecourt. 19-
--------------------------------------

BISIACH, CARLO
Born 1892. Son of Leandro. Co-operator with his father at Milan for several years. Established at Florence, 1926.
Resplendent workmanship - often handsome slab backs and very fine grain for breasts - orange-red varnish. Gold medallist at various exhibitions.
---------------------------------
Carlo Bisiach Di Leandro
Fece in Milano. P.A. 1925
---------------------------------
-------------------------------
Carlo Bisiach di Leandro
Milanese fece in
Firenze l’Anno 1942
-------------------------------
(With monogram and signature)

BISIACH, LEANDRO
Born 1864. Pupil of Antoniazzi. Established at Milan, 1890. Occupied the second floor of a beautiful old palace with large and lofty rooms - choice examples of antique instruments in one room, specimens of his own work in another, and a restoration room occupied by his three sons - Andrea (born 1890), Giacomo (1900), and Leandro Jnr. (1904).
Became the most esteemed Italian maker of his time. Died 1946.
Made many perfect replicas of old instruments, also many of new appearance (measurements generally based on those of the Messie Strad). Varnished from a long-lost Strad recipe dated 1704 which came into his possession, and subsequently caused much controversy among connoisseurs as to its authenticity. Lovely textured and lustrously transparent of orange-red shade, irresistibly urging the onlooker to immediately draw the bow across the strings, and finds viola-like sonority on the ‘G’ and ‘D’ with brilliant clarity on the ‘A’ and ‘E’.
Several specimens realised £40 in 1924. Today £80 to £100 and more.
----------------------------------
Leandro Bisiach da Milano
Fece l’Anno 1922
----------------------------------
(with signature and monogram)
---------------------------------
Leandro Bisiach in Milano
1909
---------------------------------
--------------------------------------------------
Leandro Bisiach della Scoula Cremonese
fece in Milano 1917. Piazza del Duomo
--------------------------------------------------
(Italian Crown in right-hand corner, also full name written in greenish-black ink).

BISIACH, ANDREA
Born at Milan, 1890. Son of L. Did considerable travelling in Europe and America before settling at his father’s workshop, where he did much experimenting, also an expert in judging old master violins.

BISIACH, GIACOMO and LEANDRO
Brothers: G. (born 1900), and L. (born 1904).
-----------------------------------
Giacomo e Leandro Bisiach
Fecero in Milano l’A. 1947
-----------------------------------

BITTNER, ALOIS
Worked at Kladno (Czech), 1909-1950.
Italian models - 1733 Guarnerius favoured - most attractive sound-holes with slight originalities. Oil varnish, golden yellow, golden brown, golden red and deep red.
--------------------------------------------------------------------
Zhotovil mistr houslar roku 1918
Alois Bittner v Kladnè, (decorative border)
prisezny znalec c k okr. soudu
Jediná vlastni vyroba smyccovych hudebnech nástrojn
--------------------------------------------------------------------
---------------------------------------------------------
Mistr A. Bittner
Lousler Luthier Reparater prisez. scud. znalec
zak videnské houslarské skoly
Fecit Kladno a Pragae Anno 19..
opus cis
---------------------------------------------------------

BLACK, JAMES
Meritorious negotiation of the Hardie-Strad model, yellow varnish, loud but not particularly penetrative tone.
-------------------
Made by
James Black
Dundee, 1841
-------------------
(written)

BLANCHARD, PAUL FRANCOIS
Born at Mirecourt, 1851. Grandson of François. Apprenticed to Auguste Darte, 1865, who taught him the Vuillaume principles. Worked for Daniel at Marseilles, and for Silvestre at Lyons. Established own workshop, 1870. Received medals at various French Exhibitions since 1889. Died 1912.
A keenly interested worker, only satisfied with the best he could accomplish, and having all the requisite knowledge regarding the practical construction of an ever-improving instrument. Though considerably patronised by Americans who want well-made violins at a reasonable price to flood their native market and fill their pockets, he never showed a tendency towards production of scurried work, known as the ‘cheapest’ with its accompaniment of careless workmanship and characteristic poorness of tone; yet he has proved that he had enough imagination to realise what his clients needed, and sufficient business capacity to satisfy them.
If his violins fail to excite the wonderment of buyers, they are at least so excellent that the most fastidious connoisseur can hardly take exception to any particular detail. As these instruments are steadily improving in tone, which is already of fair quality and refreshingly clear, they are going up in price, and will make a keen race for popularity with the better-known and older specimens of French production.
Produced about 30 instruments yearly. Those made by himself invariably follow the models of Stradivarius and Guarnerius. Workmanship altogether refined. Used plenty of wood (always acoustically fine and of handsome figure), and did not indulge in any artificial faking to prematurely mature the tone. Very transparent golden-red oil varnish - beautiful appearance. Astonishing sonority of tone - equal throughout the four strings.
--------------------------------
Fait par Paul Blanchard
à Lyon en 1887, No. 137
--------------------------------
(with artistic border on which is the Legend of Duiffoprugcar)
Monogram on left, and the Lyons City Arms on right.
Instruments made for the trade by assistants are of their class, as good as any other (occasionally superior specimens slip in) from France. Varnished in a lighter shade than those he personally made.
------------------------------------
Fait dans l’Atelier
de P Blanchard. Lyon. 1892
------------------------------------
Cheapest instruments emanating from his workshop and made by numerous pupils were originally sold for £4.
-----------------------
Marque. Deposée
2 LVGDVNVM 2
anno 1891
-----------------------
Very flashy label with a representation of the Lyons City Arms, and ‘Lugdunum inscribed in square lettering.
Blanchard was appointed maker to the Lyons Conservatoire, theatres, and municipal orchestras.

BLANCHI, ALBERTO
Born at Nice, 1871. Son and pupil of Augustin. Gold medals at Milan, 1906; and London, 1908. Worked at Nice, 1925, where he produced 500 violins, 60 ’cellos, double-basses, guitars, mandolines, and some especially free from the slightest blemish - whether of his studentship years or after he had arrived to that of full violin-maker’s estate. Outline and arching of original conception. Sound-holes not infrequently of classic gracefulness. Also excelled in carving a scroll whereon grandeur with neatness is exemplified. Nobody has done finer purfling. Soft and transparent oil varnish (beautifying the pretty wood) of various colours, orange-red predominating.
Many instruments have risen to the estimation they most justly merit. They belong to that school which is termed ‘inspired’. Tone particularly clear, and very much appreciated by the various fine players belonging to the magnificent orchestras at Nice and Monte Carlo.
-----------------------------
Albertus Blanchi filius
d’Agostini fecit Nicaea
-----------------------------
--------------------------------
Albertus Aloysius Blanchi
Augustin filius fecit
Nicaea Civitas. Anno
--------------------------------
(beautifully scrolled)

BLONDELET, HUGUES EMILE
Born 1875. Joined the firm of Thibouville-Lamy at Mirecourt, 1890. Became codirector with Acoulon, 1908. Died 1928. Contributed much to the prosperity of the firm. Officer of Public Instruction, Chevalier of the Legion of Honour, 1923. Two grades of violins bear his name - Amati and Stradivarius models - £20 and £25 (1920). Excellent workmanship: corners rather too prominent. Scroll sometimes with overdone black rims. Red oil varnish, thick and tending to slight transparency. Tonal quality of considerable sonority and reasonable homogeneity.
’Cellos for soloists - Amati model - 40 guineas.
-----------------------------
d’après A. Stradivarius
E. Blondelet V1
No... Année...
----------------------------

BLYTH, WILLIAMSON
Born at Greenlaw, Berwick (Scotland), 1821. Worked at Edinburgh. Died 1897. A pretender and charlatan who turned out about 2,000 wretched violins. His egregious vanity was pitiable and ridiculous. Had the knack and effrontery of being able to make something resembling a fiddle out of any obtainable wood, used few tools, then hawked his productions around, even visited pawnships and posed as a fellow in direst poverty. It is said that he had weeks when he telt less satisfied with mediocrity, and did exercise greater care in construction etc., but this mood was extremely rare. For some instruments made under this better influence he received a Diploma of Honour at the Glasgow Exhibition, 1890.
Wood generally of a yellowish colour. Thin spirit varnish having an appearance that creates no desire to look at it a second time. Wheezy tone on account of the thinness of the plates. Made first violin in ninth year, and played on it at a wedding. A smart strathspey player, for which he received medals at Edinburgh; also composed several of those inspiriting dances.

BOCQUAY
see BOQUAY.

BOFILL, SALVADORE
Worked at Barcelona (Spain), 1720-1750.
Modelling has touches of Stradivarius and Guarnerius combined. Very slight arching. Splendid workmanship decorates the scroll and sound-holes. Varnish not particularly fine, being without suppleness. Tone of penetrating sonority, not of ideal purity, but mellow enough for soloists.
’Cellos unfortunately too large to meet with wholesale approbation; and here, in obeying the impulse of genius to create something noble, he just missed his aim.
----------------------------------
Salvator Bofill, fecit Barci-
none, anno Nat. Dhi. 1742
----------------------------------
(sometimes Nativ. instead of Nat.)
Also branded near tail-pin.

BOLANDER, JOHN A., JNR.
Bowmaker, also violins, violas, cellos and basses at San Jose, California, 1959.

BOLLER
see ‘POLLER’.

BOLLINGER, JOSEPH.
Worked at Steyr (Austria), 1819.
Violins showing a degree of accomplishment which should disarm much of the connoisseur’s antipathy to comparatively new instruments - not unworthy of comparison with any of the Austrian school. Exceedingly clear tone, fairly penetrating, and equally balanced on the four strings. Notwithstanding that the model is somewhat after the Amati style, the edges are decidedly higher and slightly rounder than usually associated with that popular outline, but nothing unduly draws the eye. This sense of unity is the fine art in violin structure.
----------------------------
Joseph Bollinger fecit
Steyr. anno, 1819
----------------------------

BONDANELLI, CHIARISSIMO
Born at Venice, 1910. Chemist. Resident at Novara.
Violins having a few originalities in modelling. Spirit-and-essence-of-turpentine varnish; golden-yellow shade.
------------------------------
Fece a Novara nel 1949
Bondanelli Chiarissimo
------------------------------
(with signature)
Also (on the back): Ti feci col cuore, con l’aiunto di Dio, or suona.

BONNEL, EMILE
Established at Rennes, 1860-1899.
Fine flat modelling after Stradivarian style. Particularly handsome wood for slab backs. Lustrous red varnish. Fine full tone which gives dealers a chance of securing - £30 (1920).
------------------------------
Médailles d’or d’argent.
E. Bonnel. Luthier
1896. Rennes. No. 250
------------------------------

BONORA, GIUSEPPE
Worked at Bologna, 1925.
Customary Italian artistry - entire absence of anything of the neophyte; resplendent yellow oil varnish. Much inlaid ebony work on some. Also wondrous carving of designs representing Saint-Cecilia, the Parnassum, etc.
Inventor of a vibrating arch sound post.
----------------------
Bonora Giuseppe
1925
----------------------
(unique design - name in a circle)

BOOTH, WILLIAM (2)
Born at Leeds, 1816. Son and pupil of the preceding. Emoloyed by Henri Gugel, 1834-1838. Returned to Leeds and established himself as instrument maker. Died 1856.
Modified Stradivarian model of graceful outline. Workmanship superior to that of father. Varnish of a rich golden-brown tint, equal to some Italian productions. Thoroughly at home in the carving of the scroll. Nice appearance further enhanced by well-drawn sound-holes. Deserves compliments for choosing good acoustical wood with the usual element of pretty flame. Very pleasing tone but small.
These instruments have never been sufficiently appreciated by amateurs.
--------------------------
Wm. Booth. Maker
Leeds, 1853
--------------------------

BOQUAY (BOCQUAY), JACQUES
Born at Lyons. Worked at Paris, 1705-1735.
Early instruments follow the small Amati model; later we find some modifications having a resemblance to those of a Peter Guarnerius, and the larger type of Amati with pronounced and striking corners. Medium high arching. Workmanship not of finest order. Tone varies, but is generally a bit cloudy, therefore lacking the essential penetration for present-day performers.
Structure changeable with faultiness; particularly attributable to his proclivity for rapid production and consequent carelessness in critically examining and adjusting all the different thicknesses; hence the poor and uneven tone. Nevertheless there are a few specimens scattered about on which he exercised greater thought, and these have been catalogued at £70 (1925) - an exorbitant figure to our thinking.
Sound-holes vary - sometimes ordinarily drawn, and at other times too slanting for real artistry. Scrolls must have appealed to him, for here he is never wanting in his conception of contour. These are also slightly variegated according to different periods. Experts have stated that the original scrolls are now seldom seen on the Bocquay violins offered for sale, as they have been removed to adorn old Italian instruments.
Wood for table also varies between close and wide grain; and that for backs usually plain, though there are a few with a prettily-marked curly maple of small figure. We have also seen one with half the table made of wide-grained pine and the other half of close grain. Was this carelessness or an experiment? Used three varnishes: brown, a very transparent yellow, and an orange-red - all very nice looking but without richness. Tone not especially clear though rather strong.
Apparently devoted more care when making ’cellos, these having a happier contour than the violins, though the pattern is often rather small. Violas also are especially good and have a suitable tone for chamber-music performance.
In the Paris Conservatoire Collection is preserved the violin, dated 1718, that Baillot used when giving his lessons at that institution.
Labels - some with unequal square lettering and decorative border; others in good lettering with plain border:
---------------------
Jacques Boquay
rue de la Juiverie
A Paris, 1709
---------------------
---------------------------------
Jacques Bouquey. Luthier
rue du Coq no. 15 à Paris
---------------------------------
---------------------
Jacques Boquay
rue d’Argenteuil
à Paris, 1722
---------------------
Best instruments produced at the last-named address. Sometimes the name ‘Boquay’ is branded.

BORGHI, PIETRO
Born at Cotignola, 1892. Studied wood-carving, etc., at the Industrial School, Forli. Manifested deep interest in violin structure, 1915. Practically trained himself through having repeated opportunities of examining the magnificent and extensive collection of instruments belonging to Giuseppe Strocchi (a wealthy musical-amateur). Participated in the Exposition at Forli, and came out with the victorious first-prize, 1921. Resident at birthplace until 1925, then established himself at Modena.

BOSI, CARLO
Born 1873. Worked for Cavilli and Poli at Cremona, 1925. Died 1940. Stradivarian modelling.

BOSSI, GIUSEPPE
Worked at Stradella (Pavia), 1900. Died 1944.
Violins certainly pledged to the commercial kind. Various models and shades of varnish.
----------------------------
Giuseppe Bossi
Liutaio
Anno 1927. Stradella
----------------------------

BOTTURI, BENVENUTO
Born at Gambera (Brescia), 1882. Studied with Diguini at Cremona. Worked at Brescia, 1929-1941, then abandoned the art to become administrator of an important firm for mechanically cutting down forest trees.
During the 12 years at violin-making he must have been particularly assiduous in amassing 100 violins, several violas and ’cellos, one quartet, and about 200 bows. Superb Strad modelling, slowly drying reddish-brown oil varnish. Won several medals and other awards. Instruments eagerly sought after in Austria, France and U.S.A.
-----------------------------------------------------------------------
Benvenuto Botturi - Brescia
Liutaic
Prem. croce al merito e medaglia oro Esp. Bologna 1932.
Anno 19..
-----------------------------------------------------------------------
Generally branded on the button - also a sort of puncture in ebony near tailpiece.

BOULANGEOT, EMILE
Born at Mirecourt, 1877. Apprenticed to E. Laurent, 1890; worked at Paris for Gustave Bernardel, 1903-1909. Successor to Blanchard’s business at Lyons, 1913. Also had a workshop and assistants at Paris, 1915.
Gave all possible artistic impulse to reproducing the Stradivarius model. Accomplished his work with something besides mere mechanical precision. Oil varnish of a delightful reddish-orange tint.
Principal maker to the Conservatoire at Lyons, and the Symphony Orchestras. Died 1944.
Produced 175 violins, 7 violas, and 28 ’cellos.
-----------------------------------
Emile Boulangeot
Luthier à Lyon - L’an 1913
-----------------------------------
------------------------------------------
Fait dans l’Atelier
d’Emile Boulangeot. Lyons, 1916
------------------------------------------

BOULANGEOT, JULES CAMILLE
Born at Mirecourt, 1870. Worked and studied with Justin Derazey. Won Exhibition Diplomas at Brussels, 1897 and 1907; Liége, 1905, and Gand, 1913. Established in the rue du Boulet, Brussels, 1925. Died 1946.
Model inspired by that of a Stradivarius or Guarnerius. Workmanship denotes careful attention, a keen eye, and deft hand. Elastic brownish-yellow oil varnish. Strong tone. Serviceable orchestral instruments. In his last years he imported violins from Czechoslovakia, and put his label in them.
--------------------------------------------------------
F. Boulangeot
Luthier du Conservatoire Royal de Bruxelles
No... L’an, 19..
--------------------------------------------------------
F means ‘fait’.

BOULLANGIER, CHARLES
Born at Mirecourt, 1823. Worked at Paris with Vuillaume, Gand and Bernardel, until 1849. Came to London and entered the establishment of Edward Withers, 1849. Opened own workshop in Frith Street, 1856. Died 1888. Won diplomas at the London Exhibition 1862, 1872 and 1888. Received a special appointment to the Duke of Edinburgh.
Modelling embodies the best principles of a Stradivarius or Guarnerius. Acquired knowledge of refinement and allowed it full freedom in workmanship. Scroll also has the immutable law of the finely-artistic. Same high motive touches up the sound-holes. Equally perfect is the purfling. Dark-red or orange-red varnish splendidly applied. Used the finest and prettiest wood. Brilliant tone gradually mellowing with age. Prolific number of violins came from his workshop.
Violas and ’cellos also claim to have a similar distinctive favour for popularity - the latter sometimes realising £60 (1900).
--------------------------
Charles Boullangier
Fecit London, 1888
319
--------------------------
(initials double-circled - also autograph)
-----------------------------------------------------
Charles Boullangier. London
C.B 87 Charlotte Street. Fitzroy Sq., 1858
-----------------------------------------------------
----------------------------------------------
Charles Boulangier
Firth Street, London, 1888. No. 317
----------------------------------------------
Business carried on (only for short period) after 1888 by his son and pupil Charles Junr. Made many attractive violins, violas and ’cellos. Copies of old Italian models - splendidly-textured oil varnish.

BOURGUIGNON, MAURICE
Born at Mattaincourt (near Mirecourt), 1885. Apprenticed in his 13th year to Chevrier. Worked with the principal Parisian makers, and with G. Mougenot at Brussels, whose business he acquired, 1910. Won gold medals and diplomas at various Exhibitions.
All the refined technicalities of superior workmanship adorn his instruments. Red varnish further enhances it. Rather rich tone; found its way into great popularity with Belgian players.
Similar remarks apply to his ’cellos.
---------------------------------------
Bourguignon Maurice
43 rue de la Régence
Luthier à Bruxelles, anno 1926
---------------------------------------

BOWLER, ARTHUR
Born at Thame (Oxfordshire), 1867. Learned the art of joinery, and worked for builders, shop-fitters, etc. in London. Apprenticed to J. A. Chanot in Wardour Street, 1895-1899, had opportunities of repairing many fine instruments, and became principal assistant. Came under the patronage of Wilhelmj, and was entrusted with the repairing and adjusting of his large collection of Pressendas. Established own premises at Islington, 1899.
Built about 40 violins, the greater number modelled after the Messie Strad. Measurements: body length, 14-1/8 inches; upper-bouts, 6-3/4; middle, 4-3/8; lower, 8 3/16; ribs, l-1/4 to 1 3/16.
Outline and arching truly splendid, showing that the designer possessed the intuition and mastery of the artist. Moreover, this effective and sumptuous guise of imitation is not without the impress of individuality, although difficult to precisely determine where. Edges beautifully refined yet with a slight ridge, further enhanced by perfect purfling. Scroll dignified and electorally posed. Sound-holes absolute replicas of the prototype. Belly wood having uniform grain-width on both sides of the joining. Precepts of Stradivari in relation to the thicknessing of the plates especially regarded and obeyed. Deep orange-red varnish brilliantly transparent. Tonal quality, notwithstanding the plenitude of wood, remarkably responsive and clear. Guarnerian copies equally as fine. Also produced violas and ’cellos.
---------------------------
Arthur Bowler AB
London. Fecit, 1900
---------------------------
We anticipate great distinction for these instruments. They will stand out from the multitude, connoisseurs will revert continually to them as having a rare conjunction of perfect tonal maturity and unimpaired structural solidity.

BOYLE, W. F.
Retired clergyman. Resident at Enniskerry (Ireland), 1924. Born 1860. Made violins for many years.
Stradivarian modelling, tone in proportions. Splendid design and well-finished workmanship. Indulged in trying to probe the secrets of varnish. Much excellent mechanical work spoiled by the application of a varnish made solely from linseed oil boiled down to a treacle consistency. The few specimens more rationally treated have tonal quality pleasingly free from unevenness and newness.

BRAN, MARSINO
Born at Roveredo, 1909. Amateur. Studied with Siega (Venice). 40 violins and some violas up to year 1950. Modelling with a few originalities.
------------------------------------------
Liutaio - Bran Marsino - fece
A. 1947 Roveredo in Piano-Udine
------------------------------------------
(block lettering on the slant)

BRANDNER, JOHANN (1)
Born 1835. Worked at Mittenwald. Died 1916.
Fairly skilful designs - careful varnishing.

BRANDNER, JOHANN (2)
Worked at Schönbach, 1925.
Excellent copies of standard type. ‘Trade’ category.

BRAUND, F. T.
Resident at Colchester, 1947. Pupil of F. W. Channon.
Model (having certain originalities influenced by his teacher) with front arching slightly higher than back. Transparent varnish of reddish or golden-brownish shades - generously applied on special priming to bring out wood beauty; own composition from essential oils and selected gums. Orchestral players in London and East Anglia have rewarded the maker with high praise testimonies regarding the tonal quality.
----------------------------
Frederick T. Braund
fecit Colchester 19..
F.W. Blackbird. FTB
----------------------------
(with two sound-holes and signature)
Each instrument is given a title such as ‘Cremona’, etc. F.W. or F.W.C. alludes to his teacher.

BRETON
Name of factory order violins, intended to imitate the work of F. Breton. Name used by several French firms. Invariably well made, and good value for young students who play for recreation.
Branded inside, and on back, with a star at each side.
---------
Breton
Paris
---------

BRETON, FRANCOIS
Born at Mirecourt, 1780. Worked there from 1803 to 1830 (year of death). Violins of variable degrees between mediocrity and excellence in workmanship, some being splendidly finished, others looking like the ordinary trade fiddle. Generally of good outline with slight arching - poorest specimens never being quite commonplace. Very neat purfling. Scrolls look as though made by machinery - no outstanding character. Sometimes careless in selection of wood; tops often coarse-grained and occasionally knotty, backs of usual nicely-figured maple - sometimes apple tree wood. Light brownish-yellow varnish or yellow slightly tinged with red, not unpleasant to the eye. Tone fairly broad but dull and without sympathetic quality, which places the productions in the category of cheap orchestral instruments.
Made several beautifully-proportioned ’cellos. Altogether finely made of finest obtainable material. Model not too flat as is often the case with French instruments of same period. Invariably covered with a transparent golden-red varnish. First-rate orchestral instruments of considerable power and reasonable quality.
Measurements: body length, 30-1/2 inches; upper bouts, 14; lower, 17-3/4; width of ribs, 4-3/4; width of waist, across the top of the sound-holes, 9-3/4.
---------------------------
F. Breton, Musicarius
Mitecurti, anno 1805
---------------------------
--------------------------------------------
F. Breton breveté Luthier de S.A.R.
Mme. la Duchesse d’Angouleme
à Mirecourt, 1816
---------------------------------------------
(with coat-of-arms or crown in centre; and autographed on right)
----------------------------
BRETON BREVETE
DE SAR ME
----------------------------
(also with coat-of-arms or crown in centre)
Monogram or name branded on button at back. Sometimes ‘Breton’ inscribed in ink at bottom of peg-box.
Occasionally:
--------------------------
Breton Breveté
Breton
de S.A.R. Me
A.D. D’Angoulême
--------------------------
(branded in block lettering)
Also made bows - stamped ‘F. Breton’.

BRIGGS, JAMES WILLIAM
Born at Wakefield, 1855. Pupil of Tarr at Manchester.
First worked at Leeds. Established at Glasgow, 1886-1925. Produced several faultless replicas of celebrated violins of Strad and Guarnerius. Also various other designs more or less original - flat, medium, and high arching - all details harmoniously arranged; carefully selected and well-seasoned woods (some taken from a very old church during demolition at Warsaw) - consistent neatness in workmanship. Excellent varnish of variegated shades.
Won gold medal at Leeds Exhibition, 1890; also diplomas at Paris and Vienna. Author of ‘Instructions on Fiddle-making’ (Cassel).
---------------------
James W. Briggs
Glasgow, 1889
---------------------
(written)

BROSCHI, CARLO
Worked at Parma (Italy), 1730-1744.
Absolutely delightful suggestiveness of the small Amati model. Arching rather full but without extravagance. Prettiness of model further enhanced by perfect drawing of sound-holes. Small scroll appropriately congenial with the entire. Small but very agreeable tonal quality.
-----------------------------
Carlo Broschi in Parma
fecit, 1732
-----------------------------
Name sometimes given as ‘Bruschi’.

BROWN, J.
Worked at Huddersfield (Yorkshire), 1827-1886.
Made a large number of instruments, generally of mediocre workmanship. His best violins (and these are quite ordinary) belong to the Guarnerius model, with a yellow-brown varnish, and good wood. Also perpetuated others which are by no means consistent with decency in violin craftsmanship. These are vulgarly bold and hefty-looking affairs, arching rising sharply from the edges, very flat under the bridge - to be designated as pot-bellied. Large scroll proclaims inartistic conception. Straight and roughly-worked sound-holes inimical to good taste. Wide-grain pine and plain maple, palpably poor acoustical stuff. Light brown varnish, having a translucent effect which should have been realised on better work. Made several excellent double-basses with moulded backs - admired by some orchestral players.
-------------------------------------------------
Made by
J. Brown
56 Manchester Road, Huddersfield.
No. 23 from 1877, having been then a
Maker 50 years.
July, 1878
-------------------------------------------------
Some not labelled but have ‘J. Brown’ stamped on back. Others labelled and stamped ‘J.B.’ inside.

BROWN, J.
Worked at Wakefield (Yorkshire), 1855.
Stradivarius outline indicating little more than elementary knowledge. Not quite successful in gradations though there is no eccentricity. Thinly wooded without adequate reason. Scroll quite interesting as an architectural study. Yellow varnish with reddish tinge. Sweet but weak tone; soon wears out and becomes dead.
No label, but written under the belly and on the back:
----------------------
Made by
J. Brown
Wakefield, 1855
----------------------

BROWN, JAMES (1)
Born in London, 1759. Originally a silk-weaver in Shoreditch. Studied the art of violin-making with John Kennedy, 1790. Established his workshop in Wheeler Street, Spitalfields. Died 1834.
Violins lack the excellencies of correctness and refinement. Workmanship to be viewed rather in the light of a plodder than of artistic taste. Moderately good tone, but not strong enough for orchestral purposes, and not of that quality necessary for quartet-playing; therefore specimens often relegated to the category of unwanted except by amateurs.
Branded and labelled. Best period, 1795-1804. Sometimes applied a really beautiful red varnish. In America (1930), specimen catalogued at 500 dollars, and described as having a bell-like tone.

BROWN, JAMES (2)
Born in London, 1786. Son of the preceding. First apprenticed to his father for whom he made bows as well as instruments. Worked in White Lion Street, Norton Folgate (London). Died 1860.
Instruments made after 1834 have not perfect symmetry of shape either in model, scroll, or sound-holes. Varnish does not boast the finest tincture. Tone, however, rather satisfactory (though the plain wood may at first prejudice a prospective purchaser) but it would soon drop its honour in the company of an Italian violin. Produced several splendid bows, particularly for ’cello.
Stamped ‘J. Brown, Junr’.

BROWN, JAMES (3)
Son and pupil of James (2). Worked in London, 1833-1838, but gave up the business in 23rd year.
Made few instruments, but none synonymous with genius. No rational pleasure can be experienced in examining the workmanship. Tone totally inconsistent with solidity.

BRÜCKNER, ERICH
Born 1880. Worked at Steinkirchen near Lübben (Germany) since 1912.
Violins, violas and ’cellos - Stradivarian and Guarnerian modelling - all attuned according to the theories of Dr. Grossmann. Finest woods, Cremona-like varnish, splendid personal workmanship. Tone ‘completely equivalent to the Italian’ in roundness and mellowness. Assisted by brother Ernst, 1925.
---------------------------
Erich Brückner
Lübben-Steinkirchen
1922 E.B.
---------------------------
Also bearing the signature of Dr. Grossmann. Produced various grades of cheaper violins etc. Bows likewise of various models - Brazilian wood.

BRÜCKNER, WILHELM
Worked at Erfurt (Saxony), 1900-1925.
Violins and bows achieving considerable popularity.

BRUGÈRE, CHARLES GEORGES
Born at Mirecourt 1865. Son of Charles Joseph. Apprenticed to Etienne Drouin at Mirecourt 1878. Worked with Paul Blanchard at Lyons 1881. Also studied with Paul Bailly at Paris. Worked for Gand and Bernardel 1885-1892. Managed the business of Eugène Henry for three years. Established own workshop 1895; employed three assistants. Retired from business 1920; went to live at Mirecourt but occasionally gave to the world other examples of his skill. Died 1930.
Produced about 250 Stradivarius and Amati models - the former preponderating. Workmanship unquestionably neat and precise. Scroll and sound-holes finely suggestive of a maker who idolizes and accurately visualizes the chosen prototype. Wood always of the finest and prettiest. Oil varnish of various shades - principally orange-red but also yellow and yellow-brown. Very powerful tone gradually ripening in quality. Exhibited a double quintet of instruments at Lyons 1894 - received the first silver medal.
Created four double-basses with finely carved lion heads, and a marvellously equal tonal quality on the four strings.
----------------------------------
Charles Brugère
année 1893
No. 10
151 Rue St Martin. Paris.
----------------------------------
(elaborately scrolled in the form of a fancifully-shaped lyre; with design of a violin on left, and initials C.B. on right).
-----------------------------------------
Charles Brugère
11 Rue du Faub: Poissonniere 11
No. 94. Paris 1900
-----------------------------------------
(ordinary oblong, with design of violin in centre, and C. B. autographed)
--------------------------------
Charles Brugère, Luthier
11 Fauborg Poissonnière,
No. 232. Paris. An. 1920.
--------------------------------
(with violin design, and signed C.B.)
Each instrument numbered, also branded inside. Violins not made by him personally, but by assistants, labelled -
--------------------------
Fait dans l’atelier de
Charles Brugère
Paris 1899
--------------------------
Worked at Mirecourt 1926.

BRUNO, CARLO COLOMBO
Born in Sicily 1872. Established at Turin 1890. Won medals at Paris, Turin and Marseilles Exhibitions.
Splendidly pictured reproductions of Stradivarius and Amati models. Workmanship of that order which severely critical eyes of connoisseurs must appraise. Inside details also bear closest inspection. Wood selected most judiciously, and covered with an oil varnish of reddish-brown shade entirely charming in its effect. Sonorously brilliant tone.
Also fine ’cellos and mandolines.
-----------------------------------------------------
Carlo Bruno C.B
Fabbricante d’instrumenti musicali a corda
Fece anno 1906 in Torino.
-----------------------------------------------------
-----------------------------------
Carolus Colombus Bruno
Fecit Augustae Taurinorum
Anno Domini x 1909
------------------------------------
(original lettering, and pretty decorative border, every ‘u’ printed like a ‘v; and initials C.C.B. within laurel-wreath design).
Also circular brand with the words ‘Carolvs Brvno Tavrini’. Some instruments have the inscription ‘Si prega di non mouvre questa etichetta’ (a prayer that the label may not be removed).

BRYANT, GEORGE E.
Worked at Lowell (Massachusetts), 1915.

BRYANT, L. D.
Worked at Boston, 1900.
Stradivarian modelling successfully treated to old-imitation ideas. Golden yellow-brown varnish. Strong tone but satisfactorily smooth.

BRYANT, PERCIVAL WILFRED
Born 1902. Worked for George Withers (Leicester Square, London), 1920-1932. Established at Brighton 1939.
Aimed at a lofty position in bow-making and has certainly achieved an entire triumph. Many of his productions are used by virtuosi of several nationalities.

BUBENIK, JOHANN BAPTIST
Born 1800. Died in 36th year. Worked at Prague.
Pupil of Caspar Strnad, and partially copied his model. Outline nearer to the Stradivarian than to any other. Arching of top plate slightly too round (particularly between the sound-holes) to be truly artistic or advantageous for tonal penetrating power. Sound-holes though generally a trifle short, seem easily positioned and verge on the elegant. Well-chosen belly wood and finely flamed material for back. Conscientious workmanship though not flawlessly neat. Varnish frequently of excellent shades of golden-red or golden-brown - also specimens tarnished with a poor spirit concoction which misrepresents the general excellence of instrument, and probably counteracts quality of tone - a tone to be summarised as being rather full and strong, with a hardness accompanying it. The world will never echo with the bestowal of any especial praise.
Produced a few ’cellos of more noble impulse and more impressive tone. Stradivarian modelling. Body length 75 cm.
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Johann Bubenik
fecit Prague Anno 1825.
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(bearing the design of a lyre).

BUCCI, M.
Worked at Rome. Violins and guitars.
Skilled workmanship, no extravagancies, masculine tonal quality.
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Mariano Bucci
Fabbricatore d’istrumenti
Roma 1896.
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BUCHSTETTER, GABRIEL DAVID
Son of the preceding. Worked at Stadtamhof near Ratisbon (Regensburg), 1733-1780.
One of those makers who tried to snatch a grace beyond the beaten track, though adhering somewhat to the models of Stainer and Amati. Originality betoken in the greater length, and slightly reduced width - perhaps giving a too narrow appearance to altogether please artistic eyes. Arching less pronounced than that of either of the models. Sound-holes, in some ways Amati-like, but infused with a slight peculiarity always looked for by experts when examining and certifying a Buchstetter violin. Scroll has character in every movement of its rounded form, but there is a want of finish in the ‘tout-ensemble’. Purfling partakes of that unembarrassed facility which courts admiration. It is strange that so good a maker did not always exercise critical judgment in choosing wood. Many specimens have coarse and wide-grained pine - only very occasionally one with fine grain. Also sometimes used pine which he hardened by some secret process, and in consequence the tone is invariably harsh though loud. Backs of moderately flamed maple, sometimes of one piece, but more frequently of two. On early instruments the varnish seems to have been applied after brown-staining the wood, consequently there is a hardness and utter absence of beautiful transparency. Later he succeeded in preparing one of finer quality in three shades - yellow, yellowish-red and a rich dark red-brown - the latter being mostly favoured. Resonant and large tone, but seldom really mellow; in fact often the reverse, particularly on the upper notes. German orchestral players have found them to their liking. Spohr played on one for a few years.
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Gabriel David Buchstetter Lauden und
Geigen Macher zu Stadt am Hoff
neben Regenspurg Anno 1750.
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Gabriel Buchstetter Lautten und
Geigenmacher zu Stadt am Hof
prope Ratisbonae. 1761.
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(German lettering)
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Gabriel David Buchstetter, Lautten und
Geigenmacher Pedeponti prope
Ratisbonam. Anno 1764.
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(ordinary lettering)
Number of instrument also given. In a violin dated 1752 this number was 26.

BUCKMAN, GEORGE HATTON
Born at Dover 1845. Amateur. Played violin in local orchestras. Artistic in many directions, especially landscape photography. Studied violin making from books. Lived in a delightfully situated house on the highland of Kearsney (near Dover). Died 1920.
Strong modelling of large dimensions, Stradivarian - body length 14-1/4; upper bouts 6-5/8; lower 8-3/8; waist curves 3 inches from corner to corner; deep ribs, large but elegant sound-holes superbly traced, prominent edges nicely rounded, widish purfiing accomplished without a tremor, arching finely conceived, completely masculine scrolls, and the usual pretty wood.
Also made Guarnerian models - body length 14 1/20.
Varnish of two shades, golden-red and red, but the maker always acknowledged his semi-failure to apply it as he conscientiously desired. Tone (on a few of his instruments) especially penetrative when under a strong bowist.
Only produced about 50. Sought little publicity. Some unfinished specimens left at his death were reverently treated and improved by his friend Alfred Dixon.
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Geo. H. Buckman
Dover. 1901.
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BUTHOD, CHARLES LOUIS
Born at Mirecourt 1810. Worked with Vuillaume for several years at Paris. Set up large premises at Mirecourt and engaged several assistants. Yearly output (at cheap prices) totalled 800 violins, 401 violas and 50 ’cellos. Subsequently became director of the Thibouville-Lamy firm. Died 1889.
Three grades of strongly constructed violins - Stradivarian modelling - red, golden-yellow and light brown shades of oil varnish, frequently applied in the Vuillaume method.
Similar style in violas and ’cellos.
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Buthod Luthier
Elève de Sb. Vuillautne à Paris
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(with two designs of medals)
Also silver-mounted bows. Stamped ‘Buthod A Paris’.

BYROM, GEORGE
Born 1870. Established at Liverpool. Died 1928.
Chiefly known as a very expert repairer. Made a few violins which have not received their rightful appreciation.

BYRON, H.
Resident at Oxford.
Amatese modelling, neat workmanship, sweet tone of fair strength.
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Humphry Byron
fecit in Oxon. 1810
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