PACHERELE, PIERRE
Born at Mirecourt, 1803. Fellow apprentice of J. B. Vuillaume at Mirecourt. Worked in Nice after 1830; then at Genoa; assisted Pressenda at Turin until 1849; and finally settled at Nice. Died 1871. Best violins made consistently to the theory of the Stradivarius pattern viewed through French eyes, exhibiting picturesque nicety sufficiently analogous to that maker as to strike and retain the attention. A few specimens greatly resemble the early productions of Pressenda particularly in the wood for backs, which is generally of the rather close-flamed material so much associated with the Turin maker. Cutting of the sound-holes perfectly accurate and splendidly posed. Arching free from the slightest frigidity. Margins and edges considered very thoughtfully. Force of character distinguishes the scroll. Whole contour enriched by unerring purfling. Always excellent wood, frequently medium wide-grain material for table. Reddish-brown varnish generally lacking transparency though of good texture, being often too thickly laid on, and possibly causing the tone to be less responsive than should be the case of such well built specimens. Occasionally got better results with a chestnut-brown shade of varnish, also an orange-red prettily shaded. Tonal quality varies, sometimes clear and flexible though not remarkably sweet, but also one less pliant under the bow. Catalogued in the U.S.A., 1930, at 500 dollars. Instruments date from 1819. Written and printed labels. Also produced violas and ’cellos.
PADEWET, CARL
Born at Vienna, 1823. Brother of Johann (1). Established at Munich, 1856. Died 1896. Awarded medals at Munich Exhibition. Modelling of the ideal type and majesty belonging to the Stradivarian. Workmanship scarcely falls away from the standard set up by the finest Italians. Beautiful varnish cannot be too highly praised. Received great commendation for the absolute equality of tone from the lowest to highest register, and for its fine carrying power.
--------------------
Reparirt
Carl Padewet
München. 1862
-------------------
-------------------------------------
Carl Padewet
München. Rindermakt No. 20
1869
------------------------------------
PADEWET, JOHANN (2)
Son of the preceding. Born at Carlsruhe, 1850. Pupil of father; worked with Riechers at Hanover and Berlin; succeeded to father’s business in the Kaiserstrasse, Carlsruhe, 1872. Died 1902. Appointed instrument maker to the Baden Court. Acquired two assistants and produced about 50 violins, violas and ’cellos yearly. Gold medals and diplomas gained at Carlsruhe, Mannheim and Strassburg. Acknowledged throughout Europe as a remarkably expert repairer, many valuable violins being entrusted to his supervision. Outline has the union of dignity with gracefulness of the Stradivarius. Greater number follow this model, but occasionally he ventured on other Cremonese models. Scroll perhdps lacks manliness, but is rather elegant and neatly cut and grooved. Reddish yellow or golden brown oil varnish of capital texture, and will look quite satiny in the years to come. Instruments too new at present for the soloist to produce the mellifluous shades of tonal expressiveness, but they will create considerable favour and reach high prices in the future as they have all the essential qualities of solo instrtiments except age and usage. In early days he dabbled in theorisms and acoustics, but wisely refrained from indulging in faddy propensities by previously impregnating the wood with any form of corrosive mixture. Attained his ideal without the aid of such dangerously deleterious practices. Also produced violins of cheaper grade to which he applied a good spirit varnish. Zithers, too, were constructed by him.
---------------------------
Johann Padewet fecit
Karlsruhe anno 18-
---------------------------
(with monogram of a J. & P. joined)
PAESOLD, RODERICH
Bow maker at Bad-Brambach, 1925.
PAGEOT
see PAJEOT.
PAILLIOT
Instruments branded as though coming from Paris, but really made at Mirecourt. Period, 1790-1830. A maker not furnished with powers much beyond the ordinary, therefore these violins are not beautified with the subtlety of art we sometimes get from Frenchmen. Undoubtedly he pandered to “trade” and mass production. Large proportioned design, strongly built much in the well-known style of Nicolas ainé. Workmanship not especially refined but good of its class. Orange varnish not generously applied, but of excellent quality. Loud orchestral tone just a trifle hard and sometimes thick. Value appraised at £20, 1930. £65, 1960. Branded within an oval
---------
Pailliot
à Paris
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Two brothers (Claude and François) worked at Mirecourt, 1770-1790.
PAINE, ARTHUR M.
Resident at Pittsfield (U.S.A.), 1925.
PAJEOT, ETIENNE
Son of Louis Simon. Born 1791. Died 1849. Obtained a “mention honourable” at Paris, 1834, for splendid finish of his work. Employed largely by Lafleur. He and his assistants operated successfully on a wholesale scale and turned out 8,000 various grades of bows varying in prices from a shilling to a guinea. Consequently many are of ordinary finish. Finest examples are of light weight, generally clear yellow wood with enlarged veins, gold mounted, perfectly balanced and remarkably strong. Sometimes worth five guineas. Branded “Pajeot”. £65, 1960.
PAJEOT, LOUIS SIMON
Worked at Mirecourt, 1780-1792. Did not revolutionise any previous methods but proved to be a thoroughly skilful workman. Nicely balanced bows, conscientiously well finished though not perfectly so. Generally medium colour sticks, occasionally of darkish red, octagonal and round. Catalogued at £5 (1930), 100 dollars in the U.S.A. Seldom stamped. Occasionally bows are seen with “Pajeot, Paris” affixed, but their genuineness as being the work of this man is extremely doubtful. Also made violins of slight consequence. Bows £30, 1960.
PALLOTTA, PIETRO
Worked at Peugia (Italy), 1789-1820. A liberal and comprehensive mind attends to the tone of a violin no less than to the appearance, and considers it as a thing for public performance. This maker’s instruments call forth the best sentiments, since they are not only beautifully made in every part, but have an exceedingly rich and penetrating tone. Distinctive outline, very flat arching, excellent scroll, graceful sound-holes and handsome wood. Lustrous yellow or light brown varnish put on with all the charms attending artistic sense and touch. We cannot understand why these scarce instruments were only priced at £25 (1928), but one specimen (dated 1810), with deep red varnish was catalogued at 1,000 dollars in the U.S.A. in 1930. £250, 1960.
---------------------------
Pietro Pallotta perugia
me feci l’anno 1790
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----------------------
Pietro Pallotta
fece L’anno 1792
No. 19. Perugia
----------------------
(printed, large slanting lettering)
PAMPHILON, EDWARD
Worked on London Bridge, 1670-1690. If, in general, we are more attracted by flat modelling, the smaller and higher arched types (though sometimes presenting less variety), often possess a great number of interesting points which command our sympathies. The peculiar violins of this man, with their inelegantly squarish and stiff looking outline, but carefully finished workmanship, claim our admiration and secure our regard. Small proportioned outline and very pronounced arching. Delightfully clear compass of tone which is altogether of charming quality if somewhat small, but though lacking strength there is considerable buoyancy. One peculiarity which attracts the attention is the small sound-hole, sometimes designed with a drawn out curl like the volute of a scroll, the bottom curve sweeping out almost at right angles to the axis of the violin. Scroll has the then prevalent weakness (among English makers) of being too small, but we are inclined to overlook this in favour of the fascinatingly deep and artistic scooping of the volute. Purfling generally double, but there are specimens with single inlay. Richly decked with a yellow varnish (sometimes with a tinge of red), of splendid lustre and dazzling brightness. Not so thickly wooded as many instruments of the same period. Also produced small outlined violas which have quite an attractive tone. No ’cellos seem to have come from his workshop. Several nondescript violins of Italian origin have not infrequently been labelled with Pamphilon’s name. These are of broadish model and varnished dark brown. 300 dollars occasionally catalogued in the U.S.A. £90, 1960.
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Edward Pamphilon
April the 3rd, 1685
------------------------
Sometimes labelled as “Gasparo da Salò”. Their similarity to Brescian renders the deception rather easy. Some writers aver that Pamphilon bought violins of Tecchler and inserted his own label, an assertion to which we cannot acquiesce.
PANORMO, GEORGE (1)
Brother of Joseph. Born 1777. Died 1845. Worked at the shop in High Street, Bloomsbury, and later in Oxford Street. Specialised as a guitar maker and no contemporary surpassed his beautiful designs. Produced over 2,000 of these popular instruments. Made many violins after the Stradivarian pattern, greatly varying in merit. Whatever defects may be in some of the inferior examples, the finer ones can boast of an elegant and gloriously built outline several being exact replicas of the prototype. Connoisseurs have assigned to these the praises of being the finest reproductions ever wrought in this country. Rather favoured the Amatese-Stradivarius outline. Particularly expert in scroll cutting and achieved truly handsome and noble poises. Marvellously imitated the age of the original in the reddish yellow varnish which, in texture and transparency, almost vies with the Cremonese. Always chose the finest and highly flamed material. So pronounced was his copying fidelity that a few specimens have passed for genuine Strads. Unfortunately, as concerns posterity fully appreciating his very estimable work, he seldom labelled or placed any other identification mark in his violins. Those assumed to belong to the period 1802-1808 are accounted his finest efforts. Tonal quality very sonorous and sympathetic with splendid carrying power. Catalogued at 600 dollars in the United States, 1925. ’Cellos, also, perfectly Stradivarian, equally uphold his cleverness and serve as models for what the present age is producing. On these he applied a rich orange brown varnish. His bows perhaps, give his name even greater prestige, nevertheless, they vary greatly in merit. Those having octagon sticks (usually chocolate colour) are the favourites and worthy of any artist’s use. Name generally stamped in the usual place. Patronage and honours from Royalty and other persons of high rank have often been conferred on individuals whose claims cannot be named in the same breath with those of Panormo, yet no such luck ever came his way. £125, 1960. Bows, £25.
PANORMO, GEORGE (2)
Son of the preceding. Worked with father and Uncle Louis. Excellent workman whose speciality was guitars. Also scattered a few violins about of truly fine build as well as a few that are not accompanied with true elegance or liberality of varnish.
------------------------
G. Panormo-Fils
Fecit Londini, 1811
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PANORMO, JOSEPH
Eldest son of Vincenzo. Born at Naples, 1768. Worked in London with his father and brothers, also had own workshop in King Street, Soho. Had a chequered career like his father, sometimes prosperous, never opulent, and more often on the verge of starvation. A versatile genius who even excelled in painting, with which he frequently amused himself and temporarily neglected his real avocation. Died in extreme poverty, 1834. Buried in St. Ann’s Churchyard, Soho. His instruments also show that he was consistent to the family trait of producing meretoriously and otherwise according to the ups and downs of his career. The finer violins and ’cellos (splendid replicas of a Stradivarius) are of the most superlatively fine workmanship. Tonal quality rather magnificent. ’Cellos perhaps superior to the violins. Beautifully shaded brownish red varnish. Inferior instruments (also attributed to him) are of higher build and rather scurried workmanship. Not easily recognisable by the uninitiated as he absolutely ignored the use of labels. One unique exception is chronicled: -
“An amateur violinist (who was a tailor) engaged Joseph to make a violin, conditional that the prospective owner should watch him build the entire. This occupied a fortnight during which the maker received gratuitous meals and about £2 in cash. The tailor noted the exact number of pieces required to make the instrument, and had the fact inscribed inside together with Panormo’s name and other little items”.
Also the original maker of the subsequently incomparable Panormo guitars, and through him came several innovations. Made instruments for the magical playing of the famous Spanish virtuoso, Sorr. £125. ’Cellos £200, 1960.
PANORMO, LOUIS
Son of Vincenzo. Worked in London many years. Went to New Zealand late in life. Returned to England, 1837. Died 1845. Specialised in guitars, to which he gave much adornment and imparted an astonishingly sympathetic tone. Produced over 2,000. Became known as the Stradivarius of that instrument. Enjoyed patronage from the society world and prices went up extravagantly. Also made fine violin bows, which were stamped with his name. £20 (Bows), 1960.
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Louis Panormo
The only maker of
Guitars in the Spanish style.
6 High Street, Bloomsbury.
972 London
Guitars of every description from 2 to 15 guineas
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972 being number of instrument.
PANORMO, VINCENZO TRUSIANO
Generally termed “Old Panormo”. Born at Montreale, near Palermo (Sicily), 1734. The original name of Palermo was Panormos, hence perhaps the patronymic of this maker. Supposed that his parents were members of the artistocracy. Endowed with mechanical adroitness and spent many boyhood hours fashioning various musical instruments. In 16th year felt the impulse for wandering and travelled to Naples, and other Italian cities before finally arriving at Cremona. Worked with the Bergonzi’s, but not with Carlo as has been erroneously stated. Edward Panormo in later years, frequently spread the unwarranted information that Vincenzo was a pupil of Stradivari, perhaps a pardonable little bit of family egotism long since exploded by authentic dates of deaths and births, etc. Being of restless temperament, residence for long in any one place simply tortured his soul. Therefore we find that he soon removed himself to Turin. Here again dissastisfaction played havoc with steady application, and he set his face northwards, went through the Tyrol, ultimately arriving at Paris, 1753 (only in his 19th year). That city was apparently more congenial to him since he remained there until 1772, battled with the adversity which for a few years tugged at him, then went on assiduously to work on that talent with which he was gifted. During this period he twice paid extended visits to his native island. Had a brief sojourn in London, 1772-1773. Returned to Paris, 1773, and rented premises at 70 rue de Chartres. Four years later he found his way again to English shores, but soon returned to French soil. The revolution of 1789 causing him to hurriedly quit, he once more found welcome awaiting him in England. Worked at Dublin for a year or so, where he built several instruments of wood for the backs and ribs cut from an old maple billiard table. Finally, settled in London and died 1813. The highest attributes of the art animated him from youth to old age and he only lapsed from his high purpose when under comparative penury and deprivation, or when discouraged by people whom he solicited for patronage. The ever-present dream of his life was to faithfully copy the Stradivarian models to the minutest particulars. He pursued it diligently, often with no other hope of reward than the fame of a hereafter which he could never behold. He lived on the “poetry” of violin making, and though forced at times to descend from this supreme height, he repeatedly returned to his ideal. This is not a mere sentimental view of an artist’s functions and feelings; it is doubtless what many have entertained, and that which has encouraged them in working out their life’s labours. The finest specimens of Panormo’s art are absolutely glorious conceptions, and as replicas of a Stradivarius they easily outpoint those of Francois Fent. Even a Lupot seems less refined, certainly of heavier build, and not so perfectly Italianesque. There is something about the contour of a Panormo which grandly combines delicacy with strength, and it has a rarer merit in having inexplainable little bits of individualism truly captivating. Altogether, to our mind, a magical effect. There is a grandeur about the cutting and the shape of the scroll which irresistibly forces the spectator to imagine he is viewing a Strad. The easy and perfectly natural grace of the sound-holes verges near the ideal. Also paid particular attention to giving full margins, and the wonderful neatness of the purfiing is very conspicuous. Varnish, sometimes a rich yellow, also a beautiful one of clear rose colour, and another of a deeper red, though not too much so. Each shade has the most brilliant lustre, transparency and elasticity, comparing with anything Stradivarius or Guarnerius applied. All instruments plentifully wooded with splendid material. Avoided all inside tricks to prematurely age, but occasionally broke the varnish by rubbing down at the corners to give an appearance of wear. Copied all the Stradivarian periods with amazing reverence and insight, the long pattern having perhaps the least appeal to him. Rarely copied a Guarnerius or an Amati. Place a fine Panormo under the bow of a good soloist and a superb tonal quality will fill any concert room, the most fastidious ear will not detect the smallest speck of weakness. Its clarity and equality is uncontroversial. Six well-known soloists (personal friends of the writer) frequently, for publicity purposes, state that they play on Strads, but actually they are Panormos.
Measurements of a few fine specimens: -
One dated 1760 - catalogued at 1,000 dollars by Wurlitzer of New York, 1920. Broad model, varnish of wine red colour, richly mellow and powerful tone. Body length, 14 inches; upper bouts, 6-11/16; lower, 8-1/8.
One dated 1755 - catalogued at 750 dollars by Wurlitzer, 1920. Brilliantly full tone. Body length, 14-1/8 inches; upper bouts, 6-9/16; lower, 8-3/16.
One dated from Paris, 1780 - Body length, 13-7/8 inches; upper bouts, 6-1/2; lower, 8-1/8. Orange vamish.
One dated from Paris, 1786, sold for £300 in 1932. Rich yellow varnish, chamber music tonal quality. Body length, 14-1/8 inches; upper bouts, 6-3/8; lower 8.
One dated from Paris, 1785, catalogued at 1,800 dollars by Lyon and Healy of Chicago, 1925. Golden brown varnish, wide grain spruce for top, finely penetrating tone of beautiful quality.
One owned by Hart & Son (London) and illustrated in the Strad Journal of 1914 - Grand Amati pattern, light golden brown varnish. Body length, 14 inches; upper bouts, 6-11/16; lower, 8-1/8; ribs, 1-3/16 to 1-1/4.
One belonging to an amateur violinist and collector resident at Kew, 1928, who gave 150 guineas for it - the loveliest fiddle imaginable, richest possible red varnish, perfect condition, grand tone. Panormo, in his few fine violas, has appropriated the traditions of Stradivari, but he tempered these, so to speak, with the knowledge which experience gives to more modeln art. Body length generally 15-1/8 inches.
’Cellos also magnificent, and have grandly marked maple for backs and ribs. Tone noteworthy for breadth, richness and clarity. A very fine example dated 1811, branded V.P. under tailpin, probably the last he made, in the possession of the editor (1960). Double basses were specialities of his, and one or two of them rank as the finest in the world. Some have had their corners removed, thus resembling in outline, an enormous guitar. Stradivarian model, handsome wood, rich reddish brown varnish, scrolls sometimes fancifully designed. Versatility extended to guitars, and these show up his diversified ideas for delicate ornamentation, etc. Now we have to allude to the less pleasing side of his career; the several periods of comparative artistic darkness he passed through, when, to keep the candle burning, he had to be dictated to by dealers, make anything and everything from any inferior material foisted upon him by temporary employers; satisfy the ignorant whims of some people and various other indignities frequently demanded for purposes of trade. Thus his name is not entirely disassociated from mediocre work, but even here his worst instruments are superior to many of other makers who thrived in this particular class. It must have been pain and purgatory for him to use inferior varnish as well as being forced to roughly skimp much of the work. £300. ’Cellos up to £500, 1960.
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Vincenzo Trusiano
Panormo fecit
Parisiis, anno 1753
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(very pretty, having on right-hand side a design double-circled representing the Palermo coat-of-arms and the Italian Cross placed above that circle)
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Vincent Panormo, rue
de l’Arbre-sec
à Paris, 1754
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(sometimes autographed either with full name or initials)
(Also one dated 1810.)
--------------------------------
Vincenzo Panormo
di Palermo fecit anno 17-
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Vincenzo Panormo
me fece Marsiglia
1760. Sicily
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Vincenzo Panormo
dit Palermo
Fecit Anno 17-
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Occasionally branded V.T. Panorm.
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Vincenzo Panormo
London 1791
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Several instruments known dated as early as 1740 which, assuming his birth dates to be correctly given, points to a little deception from someone’s hands.
PAOLETITI, S. VEZIO
Born at Santa Croce (on the Arno), 1883. Studied with De Zorzi at Florence, 1917. Established own premises in same city, 1925. Designs of considerable artistry in all details. Golden-yellow or brownish-yellow varnish quite resplendent. £100, 1960.
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Silvio Vezio Paoletti
fece in Firenze. A. 1923
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PAQUOTTE, JEAN BAPTISTE
Born at Mirecourt, 1827. Nephew of Sebastien whom he assisted for eight years. Worked fourteen years for Lafleur. Succeeded to his Uncle’s business at Paris, 1863. Died 1900. Exclusively devoted his energies to bow making during several years of his youth. Ultimately drifted into violin-making and became rather celebrated for repairing as well as for expert knowledge of old instruments. These violins have the fault of certain unequal thicknesses, and are often found to be too strongly made for absolute responsiveness of tone, but their exterior beauties are so plentiful that an avowal of approbation cannot altogether be suppressed. Noble-looking scroll, handsome wood, and varnish of considerable suppleness.
PARALUPI, RUDOLFO
Born 1890. Worked at Florence and Rome (1935). Produced, up to year 1950, 200 violins and 1,000 guitars.
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Rodolfo Paralupi
Fece in Roma
1938
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(scrolled; and signature)
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Rodolfo Paralupi
Fece in Roma Anno 1949
--------------------------------
(with signature)
PARESCHI, GAETANO
Born 1900. Worked at Ferrara. Completed, up to year 1948, 200 violins, 20 violas, 20 ’cellos and 3 double-basses. Generally Strad modelling, sometimes with a few individualistic touches. Golden-yellow or brownish-red varnish.
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Gaetano Pareschi
fece in Ferrara
Liutaio anno 1947
-----------------------
PARISOT, A.
Good class violins produced at Mirecourt, 1920. Also bows.
----------------------------------
Arthur Parisot
Impasse de la Baleine Paris
-----------------------------------
(artistically scrolled. A.P. under crown)
PARKER, DANIEL
Worked in London, 1705-1761. Considerable controversy has always flown about concerning this man’s years of violin-making activity. Some writers have given 1740-1785, but, on the authority of Hill and Sons, the earlier period is likely to be more accurate. Said to have been a pupil of, or worked with Urquhart and Pamphilon, but the dates of these earlier makers upset the assertion. Quite possibly a kind of “born artist” who taught himself from the few models he had access to. Earliest instruments show a laudable preference for the Amati model, but later he more or less discarded it (because nearly every English maker was then copying or sullying the intrinsic beauties of that model), and chose to be one of the very few who adopted the long-Stradivarian pattern. These fine specimens do not constitute exact replicas of the famous Cremona model, but the design and general dimensions are similar to the point of remarkable perspicuity. Astonishingly clear tone, rather large and certainly of penetrating quality. The neglect apportioned to them in the past is mainly attributable to the general adverse criticisms of dealers, who, persisted in undeserved censure of English makers whilst often propounding a false kind of favouritism towards the lesser known Italian examples. Also made largely for the trade, and it is to be concluded from experience that some are good, others of moderate excellence, and several of little or no merit. Inferior productions often have a dull red varnish very thickly laid on. Various models - some rather bulgy, but these, in which the maker had to be subservient to the caprices of his employers, never warp the judgment of the initiated against the undoubted gracefulness and beauty of his best productions. Valued at five guineas in 1793; twelve guineas in 1810; £50 and upwards since 1920.
Many have been sold under various Italian appellations. Some of his “trade” specimens have variegated purfling on the upper part of back. They please and satisfy the most critical connoisseurs, and we heartily concur with any exalted eulogium. Body-length usually 14-1/4 inches. Waist-curves perhaps belong more to the earlier Strad model. Margins finely full. Lower corners have the normal east and west projections, but the upper are often more sharply turned downwards. Abundance of all the clever ingenuities of the clever worker in the arching, purfling, scroll, and sound-holes. Masterly cutting of sound-holes, altogether bolder and longer than any Stradivari ever conceived. Wood displays the maker’s judgement, and he never stinted himself in the use of it. Backs almost invariably prettily figured. Reddish-orange varnish of soft transparency, rich and warmly bright, strongly reminiscent of the Cremonese and the Venetian. A few of his instruments have a varnish more approaching a golden shade. Comparatively few have his label. £175 upwards, 1960.
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Daniel Parker
1740. London
------------------
(generally written in ink)
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Daniel Parker
fecit
London, 1761
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PARMEGGIANI, ROMOLO
Born 1888. Worked at Modena, 1930. Also a good violinist who won diploma at Bologna Conservatorio. Stradivarian modelling. Bows stamped with his name.
---------------------------------------------
Romolo Pormeggiani fece in Modena
Anno
---------------------------------------------
(border of small circles)
PAROCHE
French “trade violins” much circularised in the British Isles by Beare & Son (London), 1920.
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Modele
Léon Paroche
Billancourt.
B&S L Anno
------------------
PARRAMON, RAMON
Established as a repairer at Barcelona, 1897. Commenced making instruments (inspired by some of the fine Italian examples that he repaired) a few years later, many of which were not labelled with his name, but from 1919 he put in his own label. Violins of rather pronounced arching which he claimed to have the real Cremona tone, which he named “Premio Parramon”. Also violas and ’cellos.
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R. Parramon
Barcelona
Fecit Anno 1925
---------------------
(decorative border, and a sound-hole between his initials with R placed backwards)
Created a “Viole-Parramon”, a sort of small viol-da-gamba with tuning a fifth below that of the viola. Spanish modern composers include it in some of their orchestral and chamber works. Also editor of a musical journal called “Hermes”.
PARRAVICINI, PIERO
Born at Bovisio (near Milan), 1889. Pupil of Antoniazzi. Fine modelling (Guarneri and Guadagnini), pretty backs, reddish varnish, full and resonant tonal quality. £40 (1929). Won several diplomas. Produced (up to year 1950) 600 violins, 10 violas, 12 ’cellos and 3 double-basses.
----------------------------------------------
Piero Parravicini
Fece in Bovisio (Miano) l’anno 1947
----------------------------------------------
(with monogram, cross and signature)
PARTL, ANDREAS NICOLAUS (2)
Worked at Vienna, 1785-1805. Name sometimes given as Parth. Chiefly worked for wholesale dealers, forced to sometimes hurriedly comply with their demands, and apparently received slight remuneration. None of his violins are distinguished for anything approaching refinement in workmanship. General contour quite mediocre, belly wood of coarse grain, backs often plain, wretchedly poor varnish of a dark brown shade, impoverished tonal quality. Unwise speculation beyond £5 (1925).
----------------------------
Andreas Nicolaus Partl
fecit Vienna anno 1801
----------------------------
PASTA, GAETANO
Born at Milan. Son of Bartolomeo. The most celebrated of the family. Worked at Brescia (after a year or two with Amati) for Rogeri, and later established a workshop with brother Domenico, 1705-1760. Followed the slightly arched model of the Amati school, rather than the Maggini pattern so much associated with anything emanating from Brescia. Highly commended by players and connoisseurs. Outline completely reminiscent of a Rogeri, but indisputably more elegant and more lightly built, the essence of architectural propriety and constructional integrity. Workmanship consonant with refinement. Brownish-golden varnish of fine texture, applied artistically. Excellently clear tone, naturally very pure, but not particularly suitably for brilliant solo playing.
--------------------------------------
Gaetano Pasta Milanese allievo
dell Amati di Cremona, alla
Pallada in Brescia. A. 1766
--------------------------------------
Alla Pallada was the shop-sign.
PATOCKA, BENJAMIN
Born at Passek-on-the-Iser (Bohemia), 1864. Pupil of Josef Metelka in the same town, 1879. Worked at Glasersdorf, Prague, and Schumburg. Returned to birthplace, 1888. Established at Jicin (Bohemia), 1894. Produced finely modelled violins, ’cellos and double-basses, mostly after Stradivarius, Guarnerius and Stainer. Used own prepared spirit varnish which is of an unusually soft texture, yellow-brown shade. £30 (1928). Possessed several medals and diplomas. Good productivity in bows, many acquired by soloists. Also made bass guitars.
-----------------------
Benjamin Patocka
Geigenmacher
in Jicin. 1894
-----------------------
------------------------
Opravil
Benjamin Patocka
C . . . . . v. Louslar
Jiciné. 1899
------------------------
-----------------------
Benjamin Patocka
Louslar
V Jiciné 1894
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Also one in Russian.
PATZELT, FERDINAND (1)
Worked at Budapest, 1820-1859. Violins modelled after the old Italians. Their elegance of design and clever workmanship pleases the connoisseur. Large and penetrating tone. Greater reputation for magnificently fine double-basses. Used by the principle players in Hungary and Austria.
---------------------------------------------------
Patzelt Ferdinand
Huros Langszer Készitö
Pesten
lalik Leopoldávros 2 Sas utczbáan 257 sz
---------------------------------------------------
PAULI, JOSEPH
Born 1770. Died 1846. Worked at Linz (Upper Austria) from 1812; also at Vienna. Various models, longish with Stainer traits some rather Amati-like in outline and arching but more robustly built, and others resembling the specimens of J. G. Thir. Workmanship interesting and somewhat clever in every detail. Reddish-brown varnish without gloss. Tonal quality moderate in power and mellowness. £40.
----------------
Joseph Pauli
in
Linz. 1815
----------------
(decorative border)
-----------------------------
Josephus Pauli me fecit
Linci 17. .
-----------------------------
Second label purposely dated earlier than when the instruments were made, or he had a predecessor of the same name. There is no documentary evidence to enable us to ascertain which is correct.
PAULSEN, PETER CHRISTIAN
Born at Aalborg (Denmark), 1850. Acquired knowledge of the art whilst working for Adamsen and other makers in native country. Crossed over to the United States, 1882. Employed by Lyon & Healy at Chicago, 1893-1908. Worked for the Mills Novelty Company, 1908-1919. Established own workshop in Chicago, 1919, but only lived another twelve months. Died at Manistee. Business afterwards carried on as “Paulsen and Fredericks”. Claimed to have had an entirely new method of violin construction. Produced over 5,000 instruments. Most of these show his thorough knowledge of accurate measurements, his keen perception of the beautiful in outline, scroll and sound-holes, as well as the highest skill in workmanship.
-----------------------------
Peter Christian Paulsen
me fecit constructionis
Cremonensis modo
reperto -
Manistee. Mich.
Stradivarius Model.
Anno 19- No-
----------------------------
PAULUS, ALBIN LUDWIG
Born 1866. Pupil of Dölling. Established at Markneukirchen, 1890. Assisted by son Kurt. Splendid Cremonese models in the category of “commercial”. Oil varnish.
-----------------------------------------
Albin Ludwig Paulus Jr.
Königi. Hof-
Sächsischer Instrumentenmacher
Markneukirchen i S.
-----------------------------------------
(design in centre)
PEARCE, WILLIAM
Worked in London for Forster. Modelling not entirely out of harmony with good design. Workmanship fairly acceptable. Brown varnish. Fairly good tonal quality.
------------------------
Made by W.Pearce
at Forster’s. 1838
------------------------
(written in ink)
PECCATTE, CHARLES
Some writers only give one “t” in this name. Son of François. Born at Mirecourt, 1850. Worked for Vuillaume, Voirin and Lenoble before opening own establishment at Paris, 1908. There meretorious bows have received consistent acknowledgement from soloists. Very pretty, though not having the splendid beauty of finish belonging to those of Dominique. They also greatly vary in many ways since he was forced to do (often assiduously) much inexpensive work for wholesale dealers. Specimens always branded with his name. £30, 1960.
PECCATTE, DOMINIQUE
Brother of Franiçois. Born at Mirecourt, 1810. Apprenticed to Vuillaume, 1826-1837; succeeded to Lupot’s business in Paris; returned to Mirecourt, 1847, died there 1874. Bows having all the dignified uniformity of elegance which places them in a rank hardly less exalted than those of Tourte. Beautiful correctness in the superb balance of the stick, so instantaneously felt when the soloist wishes to exhibit his bowing virtuosity. Every specimen finished with the greatest care, an artist to his fingertips, patient and honest in everything he did. Owners of a Dominique Peccatte bow should indeed be proud of their possessions. Best bows with gold trimmings - name stamped in bold letters, on one side of the saddle and Paris on the other. Unfortunately he did not consistently stamp his work, thus rendering future identification very uncertain, as well as permitting certain other bow makers to place imitative examples which have subsequently deceived experts as well as the uninitiated. Some bear the name of Vuillaume. Had a marked preference for round sticks generally of dark chocolate colour. Very few with octagon sticks, and invariably light chocolate colour. Exceedingly rich in appearance, some of a material with a small snakewood like mottled figure, though less regular and distinct than usually associated with the latter wood. Heads somewhat vary, but always very strong - the outstanding characteristic being a rather original conception of sharpness towards the peak, and only noticeable when viewed from the back instead of sideways. Others slightly more square. Employed several assistants at Mirecourt, and did an enormous trade in various grades of bows from fifteen shillings upwards. Several of the cheaper examples are strongly and stoutly wooded, and are highly valued by orchestral players. Gold mounted specimens often realise high prices. Ole Bull (famous Norwegian virtuoso) had a favourite bow by this maker. Realised 350 dollars in the United States, 1926. £65, 1960.
PECCATTE, FRANÇOIS
Younger brother of Dominique. Known as “Peccatte jeune”. Born at Mirecourt 1820; apprenticed to Vuillaume, established himself at Paris. Died 1856. Had a comparatively short working life but accomplished much. Productions frequently confused with those of Dominique. Careful scrutiny of the heads reveal a difference, those of François being less pointed. Also stamped in thinner lettering (though not always smaller), than is usually seen on the bows of Dominique. Altogether magnificent bows, perfectly balanced, strong, not heavy, and very supple sticks. The soloist here finds that he can, with equal facility, perform vigorous chordal passages as well as the lightest of spring bowing or the longer undulations of tremulously emotional strokes. £45, 1960.
PEDRAZZINI, GIUSEPPE
Born at Pizzighettone (Cremona), 1879. Pupil of Antoniazzi. Maker to the Conservatorio and Opera House at Milan. Singularly well conceived presentations, standing out prominently among other moderns. Notably good results in the scroll and sound-holes. Deep golden red or golden brown varnish. Strong and even toned quality enabling performers to easily produce all the undulating variants desired. Won gold medals at several exhibitions. £175, 1960
-----------------------------------
Giuseppe Pedrazzini +
Cremonese G.P.
fece in Milano L’Anno 1914
-----------------------------------
(signature under border)
---------------------------------------
Giuseppe Pedrazzini Cremonese
fece in Milano 1945
---------------------------------------
(large C - lyre design - signature)
PELLIZON, ANTONIO (1) (PELIZON)
Born 1759. Founder of the family. Worked at Görz (Austrian coastland). Died 1850. Unequivocal tendency towards the Amati outline and arching, notwithstanding obvious little bits of individuality. Not a perfectly conceived outline, the corners being quite feeble looking. Workmanship not especially remarkable. Did not bestow those finer chisellings which accompany a thoroughly well finished scroll - boss unduly prominent and seems out of proportion to the rest. Wood for belly often very inferior - broad fibred, soft and spongeous - material that must and does affect evenness of tone. Frequently backs of a fine grained prettily figured maple. Sound-holes somewhat too precipitous for ideal grace. Yellow varnish as clear, bright and transparent as that of a Joseph Gagliano, also sometimes slightly more golden or reddish brown. Occasionally built violins more akin to the Stradivarian outline and arching. Tonal quality generally soft and mellow, but weak, altogether lacking in carrying-power. Catalogued at £15, 1910 - not worth more than £25, 1932 - although we have been notified of examples priced at 200 dollars in the United States. Violas of large proportions somewhat more sought after and valued at £50 on account of a singularly powerful tone. Also ’cellos.
------------------------
Antonio Pelizon
Fezit Gorizia, 1825
------------------------
PENZEL, GUSTAV
Bow-maker at Fleissen (Bohemia), 1882-1914.
Artist bows, pernambuco wood carefully chosen, octagon sticks possessing all the essential qualities of correct graduation. Also reddish round sticks. Graceful heads, proper balance of strength and elasticity, catalogued at £3. Stamped “Penzel”. £10, 1960.
PERR, MICHAEL
Worked at Goisern, 1760-1790. Considerable character infused into this apparently ordinary modelling. Arching rather splendidly graduated, and other details quite meritorious. Amber oil varnish greatly superior to that used by Josef, of two shades, warm yellow and golden red. Some ’cellos known with high arching and unnecessarily thick wood.
-------------------------------
Michael Perr, Geigen
macher in Goysern, 1766
-------------------------------
PERRIN FILS, E. J.
Worked at Mirecourt, 1830-1865. Instruments branded as though produced at Paris. Large flattish model with something of a Stradivarian outline. No instrument has an absolute exactness of any standard model, nor an altogether faithful adherence to artistic propriety. Body-length sometimes 14-1/2 inches, and broad upper and lower bouts. The pervading feature of the scroll cannot be termed graceful with almost elementary cutting. Tolerably well shaped sound-holes. Frequently a nice even grained spruce for top, and a rather plain figured maple for back, a combination that generally tends towards tonal power and richness, but something in this maker’s preparatory treatment of the woods has prevented such a satisfactory consummation. At any rate the tone not only falls a long way short of purity, but has little real carrying power though sounding somewhat loud to the performer. Orange red and reddish brown varnish, sometimes not particularly transparent. American dealers seem to be successful getting 150 and 200 dollars, an exorbitant figure for such semi-artificial productions. Branded “E. Perrin fils”, sometimes with the words “à Paris” either on the back outside (this seldom) or inside where label is usually placed; also “J. Perrin fils Mirecourt”, “Perrin fils Mirecourt, 1853”.
PERRY, JAMES
Cousin of Thomas. Protégé of the Ormond family. Worked at Kilkenny (Ireland), 1780-1800. Modelling generally indifferent and without the slighest pretensions approaching artistic design. Workmanship quite roughish but not entirely unskilful. Purfling sometimes scratched on instead of the usual inlay. Often very weak fibred wood, now frequently worm-eaten. Dark brown varnish generally but occasionally a brown of lighter shade verging towards yellow. Remarkably sweet tone but impoverished in roundness and strength, though Irish players have specimens which are preferred to a Thomas Perry.
Branded “J. Perry, Kilkenny” below button on the back.
------------------------------
Made by James Perry
Kilkenny. No. 200 1785
------------------------------
(written)
Said to have produced 300 instruments, including violas and ’cellos. £50, 1960.
PERRY, STEPHEN
Worked at Lowell (Mass), 1908.
PERRY, THOMAS
Much ambiguity concerning his antecedents has floated about for many years. Some writers have conjectured that he was born in England, and was employed by Richard Duke, an affirmation only supported by the similarity of the Perry fiddles with those of Duke. Gratton Flood (indefatigable researcher through the archives of Irish history) formulated the opinion that Perry was born in Dublin, 1744, and that he was the son of a Thomas Pierrie (also a violin maker) working at Temple Bar in that city. This Pierrie was undoubtedly a descendant of one of the many Huguenots who escaped from France after the revocation of the Edict of Nantes, 1685, to find security and prosperity in other lands, also that he was possibly a connection of the Pierray fiddle making family at Paris. Faulkner’s Dublin Journal, 1771, gives the following notice: “Died, Mr. Pierrie, on Temple Bar, Fiddle maker”. Young Thomas most probably carried on his father’s business at the same address until 1778 when he changed his name to Perry and established himself at No. 6 Anglesea Street, where he died, 1818. First productions came in the year 1760 when in 16th year. Any dated earlier must be fraudulent. Best period, 1778-1808. Numbered all his violins and known to have made more than 3,000. None genuine dated after 1818, although many instruments dated up to 1835 have been circulated and bear the nomenclature of Perry, but these are the products of Wilkinson (one of his assistants), a circumstance opening up considerable controversy giving rise to all sorts of fabulous mis-statements concerning the inequality of Perry’s work. He certainly was very variable, but never produced anything wholly bad, and the responsibility for the inferior instruments bearing his name should rest on Wilkinson who was altogether an indifferent workman but had good business capacities. Perry’s highest artistic ability and executive genius were irradiated when perfectly copying an Amati loaned to him by the Duke of Leinster. These examples are beautifully finished to the minutest detail inside and outside, perfectly symmetrical from north to south and from east to west. Some earlier productions belong more to the Albani and Stainer types. These have an outline much less attractive than the Amati-modelled, curves less classic, some high shouldered with squarish upper bouts, but never positively ugly and, concerning this last statement, we hope to be pardoned for contradicting the opinions of certain connoisseurs. Arching also varies, the earlier examples being of higher build than the later dated, but none are lower than medium, while many verge towards bulginess. Middle bouts often too straightish and shallow. The violins reminiscent of a Richard Duke are almost perfect representations and belong to his early period. One of Perry’s easily recognised characteristics belongs to the sound-holes, small aperture at the top and the very narrow commencement of the stem which gradually widens almost to the lower turn, giving to this lower part a somewhat exaggerated proportion to the higher. Occasionally he set the sound-holes a little too far up, which causes the bridge to be placed slightly higher than normal, and renders the stop shorter. Cutting of the scrolls also varies and here he never seems to have achieved anything particularly wondrous. Frequently exercised careful judgment in the selection of wood, usually delicately grained pine for the belly and prettily marked maple for the back and ribs. But, owing to temperamental vagaries, experiments and possibly having to cope with the insistent demand of an oft-times impatient clientèle, he utlised pine of coarser or softer grain, often less excellently acoustical, as well as plainer figured maple. Earlier violins have a darkish brown shade of varnish not particularly lustrous and not prepared from the purest ingredients. Best period instruments have one of a rich reddish or golden amber tint, really quite beautiful in appearance, of grand texture and magnificently applied. Tone quality typically belongs to what is generally denominated English, and is not so persuasively sweet as the Italian, nevertheless it has a distinctiveness which cannot entirely be likened or associated with that of any other fiddles. This tone is by no means really strong or finely penetrative, therefore soloists eschew the instruments; but amateurs, glorying in their drawing-room quartet playing, find themselves captivated with its peculiar “timbre”, one of a distinctly warm and round mellowness very readily responsive. Authenticated Perry’s catalogued at £40, 350 dollars in the United States. The National Museum authorities at Dublin have acquired five specimens of Perry’s genius, two violins, viola, ’cello and a double bass (this supposed to be the only one he built). Often been sobriqueted as the “Irish Stradivarius”. Branded “Thomas Perry” under the button on the back, although the label may be “Perry and Wilkinson”. Many bear no label and are often the better instruments.
----------------------------------------
Made by
Thos. Perry and Wm. Wilkinson
Musical instrument Makers
No. 6 Anglevea Street.
No. 1502 Dublin, 1789
----------------------------------------
A large cither-viol had the following label:
-------------------
Made by
Thomas Perry
Dublin 1767
-------------------
William Wilkinson (apprenticed to Perry) assisted him throughout the subsequent years, became his son-in-law, and continued the business until 1839, when he either retired or died. The violins dated after 1818 show a lamentable falling-off in workmanship, modelling and tone, and Perry’s name has not infrequently been smudged in consequence. The highest number we have seen indicated on their label is 4,520, an astounding output. Perry and Wilkinson specimens dated after 1818 valued at £20 (1925). £80, 1960 (for good specimen).
PERSOIS
Worked for Vuillaume and made many of the bows bearing that famous man’s stamp, for the long period of 18 years, 1823-1841. Established own workshop at Paris, 1841. Died 1850. Owing to his identity being more or less hidden under the name of his employer, the specimens stamped with his initials are indeed very rare. Heads have the swan-throat peculiarity associated with the Tourte bows, and perhaps not inferior. Sticks generally round, of reddish shade, having a beautifully sweeping curve from the head. On every specimen we see the most minute exactness in every detail. Standard of true balance between strength and elasticity (the great desideratum in a bow) always maintained. Stamped “P.R.S.”. £30, 1960.
PETZOLD, SIEGFRIED
Born 1905. Worked at Linz, Vienna, Buda-Pesth and Markneukirchen. Settled at Berlin (1933). Won medal at Brussels, 1930, for tonal sonority of his violins.
PEVERE, ERNESTO
Born 1891. Pupil of Soffriti. Resident at Ferrara. Produced (from 1920 to 1949) 400 violins, 10 violas and 20 ’cellos. Cremonese modelling, flawless workmanship, and golden yellow or golden brown varnish. £100, 1960.
------------------------
Pevere Ernesto
diutista
Anno 1927 Ferrara
------------------------
----------------------------------
Ernesto Pevere
allieno di
Ettore Soffritti
fece in Ferrara l’anno 1948
----------------------------------
PEYROT, ALFRED
Born at Algiers, 1904. Professional ’cellist.
----------------------------------------
Repare à Alger le. .
par Alfred Peyrot 12 rue Rovigo
----------------------------------------
PFRETZSCHNER, CARL FRIEDRICH (1)
Born 1743. Died 1798. Worked at Markneukirchen. Recognised as one of the best Saxonian makers of his day. Produced hundreds of violins with extraordinary rapidity. Copied the Cremonese models with zeal and perseverance if not always with entire fidelity. Arching sometimes rather high and sometimes flatter. Great freedom of hand in the workmanship. Back of scroll sometimes inlaid with ivory. Nice feeling for colour and application in varnishing, usually the shade denominated “old yellow”. Dated his instruments as from Cremona, an inscription palpably false and ridiculously pompous, as the style (though excellent in its way) is typically Markneukirchenish. This practice (notoriously indulged in by many makers in Bavaria, Tyrol and Saxony), to add fictitious value and gull certain sections of an easily-credulous public is to be universally deplored. Value of his violins remains in the neighbourhood of £20. £60, 1960.
------------------------------------
Carl Friedrich Pfretzschner
prope Violino car Respontent
Romani Cremona Ao 1773
------------------------------------
--------------------------------------------
Carl Friedrich Pfretzschner
Cremonien Hieronimi Fili Antoni Ne
p.s. fecit. Ao 1773
--------------------------------------------
Branded “C.F.P. 1774”, and sometimes inlaid in a heart-shaped panel below the button. Some writers have given his working dates as early as 1713, but surmised wrongly evidently misreading the second 7 of the date on a dirty label. Pfretzschner’s indefatigable perseverance and assiduousity to attain excellence, operated prejudicially on a constitution naturally weak, and the last few years of his life were spent in battling with the ravages of consumption.
PFRETZSCHNER, CARL FRIEDRICH (2)
Worked for Bausch at Leipzig, 1863, and at Markneukirchen, 1871-1880. Amati and Stradivarius modelling with the easily-detected Germanised modifications. Cutting of the scroll admirably managed. Sound-holes very adroitly designed. Entire contour very pleasing, perfect consistency with the scientific laws of construction and principles of harmony. Frequently one-piece backs. Golden yellow varnish of soft quality. Warm and mellow tone but not quickly responsive.
PFRETZSCHNER, CARL FRIEDRICH (3)
Born 1870. Son and pupil of the preceding. Worked at Markneukirchen. Nicely designed models, finished workmanship and satisfactory tone.
PFRETZSCHNER, G. A.
Worked at Markneukirchen, 1925. His bows, branded with three stars and insignia, are in constant demand by the leading artists because of their strength; possessing at the same time greater lightness, spring and elasticity, as well as elegance and perfect balance. An indefatigable investigator and fully sensible of the important action of the bow in the production of tone he has for many years been selecting and maturing choice Pernambuco wood that would alone yield the results he sought - that of combined stiffness and lightness. His diligence and perseverance have been rewarded for he commanded an enviable supply of Pernambuco, perfect and without defect or blemish, a rarity in this wood, insuring the continuity of his fame. £15 to £20, 1960.
PFRETZSCHNER, HERMANN RICHARD
Born 1857. Went to Paris to study with Vuillaume. Founded his bow making establishment at Markneukirchen, 1880. Died at Siebenbrunn, 1921. Received an appointment, 1901, from the King of Saxony, subsequently decorated by that exalted personage. Supplied bows to the Royal Court at Dresden, also to the symphony orchestras and Conservatorium in that city. He and his assistants manufactured all grades of bows from 5/- to £10. Pfretzschner himself specialised in bows for artists built on the principles of Vuillaume, Voirin and Tourte. Also bows of his own particular models named after celebrated virtuosi such as the “Professor Wilhelmj”, the “Prof. Henri Petri” and the “Staccato-Master”. ’Cello bows named after Oscar Bruckner and double bass bows after Laska. Attained a world-wide reputation, possibly second to none. Beautifully balanced affairs, strong yet full of elasticity, backed up by the neatest workmanship and best mounting in silver and gold, etc. All harmony in perfection and nothing wanting to complete the fascination of the whole. Nothing, however small, escaped his consideration. Sticks substantially wooded, yet, by his ingenuity, have an appearance of extreme litheness. Ornamentations, though sometimes elaborate, never descend into extravagant or gaudy prettiness. Sticks are neither polished or varnished. Stamped “H. R. Pfretzschner, Dresden”. Others bear the names of the particular virtuosi mentioned above. Succeeded by son Hermann. £25, 1960.
PFRETZSCHNER, JOHANN GOTTLÖB
Born 1753. Died 1823. Worked at Markneukirchen. Connoisseurs assign to him first place in this family. Productivity divided into three periods: - First period - Stainer modelling with its accompanying bulginess. Workmanship not far removed from mediocrity. Tone quite nasal and without power. Second period - rather a long and somewhat narrow pattern, but fairly nice looking for all that. Arching much less severe in height, though not of fine graduation, being really almost table-landish with an abrupt drop near the edge, which results in a slight groove entirely round the outline, this peculiarity being more pronounced in the vicinity of the waist. Narrow edge and excellent purfling. Sound-holes only tolerably graceful owing to the straightish stem. Long peg box with the head of the scroll insignificantly small and not sweepingly curved. Good workmanship on the whole, though not especially refined. Warm looking golden brown varnish. Belly wood often of medium grain and frequently one-piece backs of curly maple. Mellow tonal quality but neither rich or brilliant. Third and last period - modelling more akin to the Stradivarian, with a noticeable improvement from his former productions in the arching gradient. Tonal quality fairly responsible and passably sympathetic. £80, 1960.
-----------------------------------------
Johann Gottlob Pfretzschner
Jacobus Stainer in Absahm prope
ceni pontem anno 1778
-----------------------------------------
------------------------------------
Johann Gottlob Pfretzschner
prope Violino car Respontent
Romani Cremona, 1799
-----------------------------------
-----------------------------------------
Aus
J. G. Pfretzschners
Musikalische Instrumenthandlung
in M-Neukirchen bei Adorf
-----------------------------------------
Some instruments ante-dated 1743-1752.
PIATTELLINI, ALVISIO
Worked at Florence. Pupil of Gabbrielli. Double bass, of fine workmanship and dark brown varnish, in the local museum.
--------------------------
Alvjsius Piattellini
Florentinus Alumnus
Gio. Batta Gabbrielli
fecit 1791
--------------------------
PICCAGLIANI, ARMANDO
Born 1879. Worked at Modena. Won gold medals at Genoa, 1922; and diploma of honour at Rome for a ’cello. Died 1945. Made 600 violins, violas, ’cellos and double basses. Generally Guarnerian modelling. Instruments not fully appreciated in native country for some unknown reason. £85, 1960.
-------------------------
Piccagliani Armando
fece in Modena
L’Anno 1931 1931.
-------------------------
(with signature)
PICKARD, HANDEL
Worked at Leeds, 1856-1866. Hotel keeper who acquired considerable proficiency and subsequent recognition in violin-making and repairing. Stainer and Amati models copied with fair fidelity. Wood impregnated with chemicals. Brown varnish of rather soft quality and pretty shade.
-------------------
Handel Pickard
Maker
Leeds. 1860
-------------------
(brown tinted paper)
“H. Pickard, Leeds” branded on the back.
PIERNOT, MARIE LOUIS
Born at Neufchâteau, 1880. Learned the art under Bazin at Mirecourt. Worked for Vigneron, 1900. Established own atelier at Parmain (near Paris), 1923. Bows of true felicity in the uniting of strength with elasticity, perfect balance, workmanship and mounting most artistic, many specimens equal to the best of the French school. £25, 1960.
PIERRAY, CLAUDE
Worked at Paris, 1700-1740. These violins have received much ostentation of panegyric from certain writers, and the possessor of one often goes into ecstasy over the unaffected magnificence and real dignity of the outline, but owing to the various thicknesses of the wood not always being proportionately graded with that nicety consonant with the rest of the workmanship, penetrating power of tone is impaired though its semi-sweet quality seems to be retained, consequently the value seldom exceeds £25. Modelling generally of large proportions, and inspired by the Cremonese. Contour in many points has a distinct resemblance to that of a Girolamo Amati, but careful scrutiny will reveal the fact that it is slightly elongated, and that the sound-holes have a peculiarly and decidedly original cut in the upper turn. Made a large number of instruments, but few known in this country. Scrolls generally shaped with manly, forcible, yet refined elegance. Varnish a light red, or deep orange-yellow, usually of splendid quality, though perhaps not meriting the inflated superlatives of some experts. Occasionally he applied a preparation of a dull red hue, these instruments usually being of smaller build. Another nice attribute is the invariable excellent quality of Wood, though it may not be always handsomely figured. Workmanship consistently well finished, which brings up our regret that he indulged in the pernicious practice of over-thinning the top as well as making the backs too thick. Violins (dated 1710), body length, 36 cm., upper bouts 17, lower 20-1/2. Produced several ’cellos having a somewhat light but weak tone. In Thomas Britton’s Collection of instruments was a Pierray violin which fhe owner described as “good as a Cremona”. Bass viol, dated 1712, in the Paris Conservatoire. Dealers in the U.S.A. catalogue his violins from 200 to 500 dollars; and in 1930 a ’cello was purchased at 1,000 dollars, said to be the solo instrument of a leading American virtuoso. £90, 1960.
--------------------------------------
Claude Pierray, rue des Fossés
Saint-Germain des près à Paris
--------------------------------------
-------------------
Claude Pierray
à Paris, 1715
-------------------
------------------------
Claude Pierray
proche la Comédie
à Paris 1725
------------------------
--------------------------
Claude Pierray, 1729
--------------------------
(written somewhat like copper-plate)
Name sometimes given as “Pierret”. Also worked in the rue d’Argenteuil.
PILÁT, PAUL (1)
Born at Benesov near Prague (Bohemia), 1860. Worked with Zach at Vienna. Established own workshop at Budapest, 1891. Appointed maker to the Royal Hungarian Court. Awarded several European and American medals. Died 1931. Patented a “newly constructed” bass bar, which had laudatory testimonials from the principal professors in Hungary and Bohemia. Spent several years of experimenting with varnishes, finally achieved his object, and supplied hundreds of makers with it. Modelling of his violins shows fine sense of design. Minutest points in workmanship all exquisitely finished. Beautiful varnish generously applied. Splendidly brilliant tone, one that should appeal to vigorous young bravura players in their gladiator-like passages.
---------------------------------------------
+ Paulus Pilát +
P.P fecit Budapestini anno 18. . P.P
No. . . . . . .
---------------------------------------------
(initials branded)
Some labels with name in Hungarian style “Pilát Pál”.
PILAT, PAUL (2)
Born at Budapest, 1897. Son and pupil of (1). Established at New York, 1921.
PILLEMENT, FRANÇOIS
Known as Pillement père. Worked at Mirecourt, 1775-1820. Branded some of his instruments as though made at Paris, but did not actually work there. Changed the modelling at different periods. First period instruments belong somewhat to the Gaviniés style, and here he probably shines with the brightest lustre. Second period specimens are Amatese with medium arching. Later period instruments have more or less affinity with the French Stradivarian model, never quite adhering to one distinctive model, rather long in the body but not so over-widely proportioned. Flat arching, noticeably so from the edge. Not a unique contour by any means, but there are many more inelegant. He never quite came out of the shadows of ordinary craftsmanship, the scroll and sound-holes particularly affording evidence of this. Used plenty of wood, sometimes too much and seldom absolutely accurate in graduation. Belly wood usually of wide grain, backs of moderately flamed maple. Generally a varnish of a brown-orange yellow shade, sometimes fairly supple. Also one (only occasionally) of a deep orange-red. Tone unexpectedly small considering it issues from a large and flat resonance box, but the quality is quite acceptable. Catalogued at £20 (1925), 200 dollars in the United States. ’Cellos have similar characteristics and shades of varnish, but usually have a finer and stronger tone. £80, 1960, for good specimen.
---------------------
Pillement père
à Mirecourt fecit
anno 1799
--------------------
---------------------
F. Pillement père
à Paris fecit
anno 1806
---------------------
Branded inside on the back:
-----------------------
F. Pillementi
Père. A. Cremona
-----------------------
------------------
Pillemont père
à Mirecourt
------------------
---------------------
F. Pillemont père
à Paris
---------------------
Italianising of his name and the word Cremona was evidently done as a business ruse, although his shop sign was “A. Cremona”.
PILLOT
Bow maker. Old French. Microscopical examination will bring no blemish to these light bows in the matter of workmanship. A few of the sticks made of a peculiarly brittle wood, and the heads have been known to snap from undue tightening of the hair. Catalogued at 50/- (1925). Stamped “Pilot à Paris” or “Pillot ainé Paris”. Good imitations of the original produced by J. Lavest at Montlucon (France).
PINEAU, JOSEPH
Born at Niort (France), 1881. Pupil of Gustave Bernardel and A. Tolbecque. Established at Paris, 1925. Elected “Ouvrier d’art” 1902. Lupot modelling, unquestionably equal to anything of its class for elegance of design and beauty of workmanship. Our wonder is that these superb instruments are not more universally recognised.
-------------------------
Joseph Pineau
Luthier à Paris
No. . . . Année 19. .
-------------------------
Also branded inside. £100, 1960.
PIQUE, FRANÇOIS LOUIS
Born at Boret (near Mirecourt), 1758. His father carried on a respectable business far removed from violin-making, and it reflects no little credit on his discernment and wisdom, that he allowed his son to follow the path which nature had marked out for him, as soon as it appeared plain and palpable. Placed with Saunier (maker of good taste and a connoisseur of no mean judgement), to whom he was indebted for much sound advice, as well as liberally allowed to copy the various Cremona specimens preserved in the workshop. Established at Paris, 1778, where he soon achieved renown and popularity with the many wealthy amateurs and professionals throughout France. Retired from active business 1816, and died at Charenton-Saint-Maurice 1822. Usually regarded as the second finest French maker, Lupot unanimously assigned to first place. Oft-times repeated that a Lupot and Pique bear so close a resemblance to each other as to be almost like twins; but as a matter of fact, it really requires but little careful scrutiny to find the differentiating points between them, and the most noticeable of these is the incontrovertible fact that Lupot never conceived so largely porportioned a model as Pique invariably favoured. Outline and arching somewhat Stradivarian, but bolder and broader, a sort of muscular force perhaps, none the less elegant. Body length generally 14.3/16 inches; upper bouts 6.11/16; lower 8-1/4; middle 4-1/2. Substantially built corners, heavier looking than those of a Strad or Lupot, and the outer curves slightly more drooping. Margins strong and beautifully full. Depth of ribs, 1.3/16 to l-1/4 inches.
Being a perfect master-craftsman, he launched out with giving a grand robustness to the scroll whilst somewhat adhering to the Stradivarian form. Capitally designed sound-holes, upper and lower curves perfectly proportioned, wings well defined, and a faultless graduation of stem. Occasionally placed them just a little wider apart than his prototype. Workmanship from top to bottom denotes an almost wondrous combination of vigor and delicacy. Belly wood sagaciously chosen for its acoustical properties, and its strong and straight fibre.
Mostly one-piece backs of strikingly handsome maple with broad flame. Sometimes accused of leaving the plates too thick, but he never gambled with the future power of tone by chemicalising or heating the material. Favourite shade of varnish was a red with a deep brownish tint, never hard and never very supple, slightly opaque, and finely textured. Occasionally we meet with a deep plum shade, also one (very seldom), somewhat approaching a golden-orange.
Tonal quality typically French, magnificently resonant and sonorous, voluminously penetrating, and very smooth. Prices, in 1932, nearing the figure of £200. One glorious specimen dated 1800, realised 1500 dollars at New York, 1930. Purchased in 1792 several unvarnished violins from Nicolas Lupot at Orleans. To these he applied a preparation supplied by Lupot, placed his own label within, and sold them as his make. No violas or ’cellos seem to have come from his workshop. Theobos and sixteen-stringed mandoras are known. £450, 1960.
-----------------------------
Pique rue grenelle N25
fait à Paris. 1777
-----------------------------
Labels frequently written, seldom engraved.
------------------------------------------
Pique
rue Coquillière vis-à-vis le Roulage
de France. à Paris. 1791
------------------------------------------
---------------------------------
Pique, rue de Grènelle
St. Honoré, au coin de
Celle des deux écus No 35
à Paris, 1809
---------------------------------
---------------------------
Pique rue de Grènelle
St. Honoré No 52
à Paris, 1797
---------------------------
---------------------------
Pique Rue Coquillière
vis a vis L’hotel du
Roulage à Paris 1789
---------------------------
Third label sometimes three-lined and in italic lettering. Also Worked in the rue de Bouloy, 1778; and in the rue Platrière vis-a-vis de l’Hotel de Bullion, 1787-1789. Instruments numbered, and sometimes “Pique Paris” branded on back.
Ole Bull (Norwegian virtuoso) played on one during a lengthy concert tour, and immeasurably helped in the enhancement of Pique’s reputation. The autocratic Spohr also expressed considerable praise.
Pique, indefatigable and wonderful, has contributed many magnificent specimens (all made in a remarkably free and powerful manner) for the soloists of the future. They have been admired and adversely criticised as the fancy or judgement of players and connoisseurs has dictated, but each and all of his instruments will confer immortality on the name of the maker irrespective of past opinions. It is our firm conviction that the present generation must not sit in judgement upon the genius of Pique. We are too close to his violins to see them in their right aspect, and the mind has become unevenly balanced by the opposite opinions of his detractors and his admirers to pronounce a clear and unbiassed verdict. Lupot had also to undergo the same ordeal of praise and deprecation, but posterity has rendered him strict justice. We have no doubt of similar honours being awarded to Pique, for we believe him to be as extraordinary as some of the famous Italians, but it will be a long time before his violins are justly estimated for their ideal tone. Great geniuses have ever been great experimentalists, and Pique’s vast and comprehensive mind disdained to exclusively follow in the track marked out by others, however distinguished - hence, he broke away from the trammels which the dogmas of schools would have interposed between him and his genius, and hewed out a way for himself.
He had the power of perception and analysation of imparting to his violins everything that could be revivified to render homage to his marvellous forethought.
PIRETTI, ENRICO
Born 1911. Worked at Bologna. Principally guitars of various sizes, mandolines, and mandoras. Produced about 10 ordinary violins, plain backs, spirit varnish of orange or sombre red shade.
--------------------
Enrico Piretti
Liutaio
fece in Bologna
Anno 1949
--------------------
(lace-work border, and signature).
--------------------------------------------------------------
Enrico Piretti
Liutaio
Primo Premio Concorso Internazionale di Cremona
F Bologna anno 1949
--------------------------------------------------------------
PIROT, CLAUDE
Worked at Paris, 1792-1835. Pattern somewhat belongs to the Stradivarian, finely large and flat, highly pleasing to look at on account of its elegant proportions. There is a certain similarity to the Lupot, and his instruments have occasionally been mistaken for those of the more famous man, but only the uninitiated in the comparisons of violin styles could be so deceived.
There is one peculiarity about the Pirot violins which shows that he had no intention of being restrained by mere imitation or confinement of any pre-established rules, and that is, giving the belly slightly higher arching than the back. Whether this is prejudicial to the equality of tone is, of course, a controversial matter. Scrolls skilfully cut, and rather a long peg box. Sound-holes completely in harmony with the Stradivarian. Workmanship of all details thoroughly consistent with high art, Extremely handsome wood. Often one-piece backs. Generally a thick reddish-brown varnish, also one of a pale yellow shade almost equally as thick, and a few specimens with a deep plum colour, in each case surpassingly rich in texture and of beautiful appearance. Catalogued at £30 to £50 (1930) and as high as 500 dollars in the United States. Splendid and strongly constructed instruments with a truly large and clear tone. Violin dated 1830, body length 36 cm; upper bouts 17; lower 20-3/4.
-------------------------
Cde Pirot Fecit
Parisiis. Anno 1807
-------------------------
(neatly engraved border)
On the right will be found his monogram double-circled. Sometimes name or initials branded under the tail-pin. £95, 1960.
PIVA, GIOVANNI
Worked at Modena, 1860, and at Piacenza, 1880. Made about 12 violins, everything quite ordinary. Also constructed a stringed instrument made of metal named “Metallicordo” - archaic design.
PIZZAMIGLIO, CARLO
Born at Sesto, 1914. Cabinet maker. Studied violin making 1932-1935. Prisoner-of-War in Egypt, 1941-1945, and made 40 violins with any tools or woods he could find. Returned to Italy, and lived at Cortetano. Individualistic modelling of modest qualifications. Spirit varnish.
------------------------------------------
Carlo Pizzamiglio
Sesto ed Uniti
Cremona Italia - Fece in Egitto
L’anno 1942. Camp 309. P.O.W.
------------------------------------------
--------------------------------
Carlo Pizzamiglio
Cortetano - Cremona -
fece in Italia-L’anno 1949
--------------------------------
PLACHT, FRANZ
Worked at Schönbach, 1760-1794. Admirably designed instruments, not only in outline, but also in the rather flat arching, and the symmetry of the sound-holes. Modelling based on the Cremonese. Scrolls intelligently shaped but lack dignity. Frequently one-piece tops and backs. Backs and ribs of plain material, sometimes imitatively grained by the maker. Dullish dark brown varnish. Tonal quality fairly mellow, but not clarified or greatly responsive. £15 (1926).
-----------------------------------------------
Franz Placht, Geigen u. Instrumenten-
macher in Schönbach. Ao. 1762
------------------------------------------------
(German leitering, decorative border)
Some labels have “Francesco” instead of “Franz”.
PLATNER, MICHAEL
Worked at Rome, 1700-1755. Seems to have migrated to Italy from the Tyrol. Apprenticeship in Tecchler’s workshop influenced and refined his ideas, enlarging his views of design. On taking a general survey of several of his instruments we notice a certain type or style, a predilection for certain peculiarities and fancies which predilection was partly inherent and partly influenced by the models by which he was surrounded in that workshop. We refer to the uniform peculiarity of exceedingly full arching though of medium height (so frequently imitated during his period) which is certainly more Tyrolian than Italian. In this respect he must be classed with those whom experts distinguish by the appellation of mannerists, for though he sometimes slightly modified the arching to get a more Italian aspect (through necessarily studying the Cremonese), he never wholly rid himself of his original ideas. Longish and somewhat narrow pattern. Bodylength, 14.1/16 inches; width of upper bouts, 6.9/16; middle, 4.8/16; lower, 8.9/16. From corner to corner of the C’s, 3.8/16 inches. Arching not beautifully graduated like the Italian style but retains its fullness (à la Tyrolian) until a nearer approach to the edge, which causes a kind of groove not (to our mind) at all captivating, particularly in the neighbourhood of the waist. Sound-holes set rather low, a trifle straightish but not ungraceful, and with fairly decided middle notches. Rather small and narrow scroll not particularly embellished by a genius hand but sufficiently well cut as not to destroy the appearance of a decent symmetry. One notable peculiarity is here to be remarked, and that is the somewhat slender cutting of the peg box near the throat of the scroll. Praise is justly due to the workmanship. If his merits are ever disputed it is only with reference to the model, not to his technical skill. Generally favoured one-piece backs of nicely flamed (often broad) maple and ribs to match. Specimens also known with backs of plain material and ribs of pretty figure. Table wood of fine and wide grain both acoustically excellent. Golden brown, golden yellow, orange red and nut brown shades of varnish, each of engaging transparency and splendid texture. Tonal quality very clear and very responsive, not greatly powerful but carrying well in it concert performance. Some of the early dated instruments have a slight nasal tone. We have seen specimens advertised at £200, also one dated 1725 priced at 1,800 dollars in the U.S.A. By declaring (1930) a £100 to be a reasonable figure, we are perhaps exciting the adversion of some connoisseurs. No violas have come to our notice. A few ’cellos are known. £300 up to £450, 1960.
--------------------------
Michäel Platner fecit
Romae, anno 1747
--------------------------
PLUMEREL, CHARLES (1)
Worked for Daniel at Marseilles. Lived at Capalette. Mirecourtian style, good golden yellow varnish.
---------------------------------------
Fait par Plumerel à la Capalette
près de Marseille, en 1863
---------------------------------------
(written)
PLUMEREL, CHARLES (2)
Worked at Angers (France), 1822-1852, and later at Dunkirk. Trained at Mirecourt. Instruments displaying considerable elegance. Nearly approaching those of Vuillaume in style and finish. His own special model has yellow varnish. Very clever with varnish imitations of the old Italian and French violins. Marvellously expert in cutting scrolls. So far as England is concerned these violins have basked and slept in the twilight of neglect and forgetfulness, but perhaps the future will raise them to their proper height of approval. Tonal quality has that infallibility of improvement which the vigorous modern player is continually searching for. £30, 1928. £100, 1960.
--------------------------------------------------------------
Par Charles Plumerel, Luthier
rue Baudrière No. 4 Angers, 1836
Magesin de toutes sortes d’instruments de musique
--------------------------------------------------------------
------------------------------------------
Charles Plumerel, luthier
rue Baudrière No. 4 Angers, 1837
------------------------------------------
Name and year written on the upper half of the back. Also produced several fine toned ’cellos.
----------------------------------
Plumerel - Dunkerque 1864
----------------------------------
(written)
POGGI, ANSOLDO
Born at Medicina (Italy), 1893. Made first instrument in 18th year, having had no previous instruction. Then dedicated several years to the study of violin playing, but always felt that the constructive art would not ultimately take second place. Won diploma as a violinist at the Bologna Academy. Decided to set up as a violin maker in that city, 1920. Pursued the avocation with the enthusiastic ardour at his command. Built 25 violins, 3 violas, and 3 ’cellos from 1922 to 1925. Stradivarian and Guarnerian modelling. Magnetic scroll and sound-holes, superb purfling, beautiful woods, reddish-golden varnish. Instruments of fine breadth essentially constructed to withstand the most vigorous and persistent playing upon. Artists and connoisseurs generally fascinated with the clear tonal quality as well as the contour. Produced a fine quartet for Count Emilio Scarani of Bologna. Also awarded medals at Rome, and other centres. £150, 1960.
---------------------------------
Ansaldo Poggi
da Villa Fontana
fece in Bologna Anno 19. .
---------------------------------
----------------------------------
Ansaldo Poggi
fece in Bologna Anno 1950
Anno Santo
----------------------------------
---------------------------------
Ansaldo Poggi
da Villa Fontana
allievo di G. Fiorini
fece in Bologna anno 19. .
---------------------------------
----------------------------------
Ansaldo Poggi
allievo di G. Fiorini
Fecit in Bologna anno 1929
----------------------------------
(with initials)
------------------
Saragozza 160
------------------
POIROT, AINÉ
Worked at Mirecourt 1785-1820. Modelling and workmanship take no important step in advance of anything predecessary or contemporary. Wood not particularly well chosen. Brown or yellow varnish not attractively transparent. Branded in triangular form “A. Poirot A Mirecourt”, or “A. Poirot l’ainé” written. Name sometimes given as Poinot.
POIRSON, ELOPHE
Born at Landaville (Vosges), 1840. Resident at Lyons. Died 1918. At first an amateur who, having an extensive knowledge of wood carving, set out on the perilous path of violin construction. Inherent inventive and executive facilities quickly brought an imptovement on his modest initiatory attempts. Gave himself every opportunity of acquiring knowledge concerning the measurements etc. of the best models of precedent times, from whence, being essentially eclectic, he derived accuracy of proportion as well as perception of the beautiful. Submitted (1878) two violins to Marsick (famous Parisian virtuoso), who was so enamoured that he played several times on one or other at his recitals. This happy verdict encouraged Poirson to devote his whole time and ardour to the profession. Awarded medals at various expositions dating from 1889. Though not treasures of remarkable beauty his instruments are of graceful design and well timbered. Fine oil varnish of a red shade, specially prepared by him after several years’ experiments, greatly etherealised, volatile and alcoholic; which, according to his widely advertised statements, imparted astonishing resonance and mellowness to the tone. Produced about 200 violins, violas and ’cellos.
-------------------------------
Lyon, 1900
No. 185. Elophe Poirson
-------------------------------
(written, and bearing his portrait)
Sometimes branded “Poirson” below button. £75, 1960.
POIRSON, JUSTIN
Born at Mirecourt 1851. Pupil of Maire: worked for J. B. Vuillaume, and for Gand and Bernardel. Established own workshop at Paris 1880. Assassinated 1925. Bows of marvellous elasticity and strength. Very artistic heads and superbly finished sticks. Stamped “Poirson à Paris”. £25, 1960.
POLITI, ENRICO
Born 1885. Son and pupil of Eugenio. Worked at Rome. Stradivarian modelling transparent rose (with a tinge of golden) varnish. Made (up to year 1949), 400 violins, 30 violas and 40 ’cellos. £90, 1960.
------------------------
Enrico Politi
Fece
Roma - anno 1923
------------------------
(plain border, signature on left)
POLITI, EUGENIO
Born 1852. Pupil of Enrico Ceruti. Worked at Cremona and Rome. Died 1909. Splendid modelling, almost a replica of a Ceruti. This affinity has offered chances for unscrupulous dealers to remove the label, and dispose of them as genuine Cerutis. £150, 1960.
---------------------------------
Eugenio Politi
Alumnus Enrico Ceruti
fecit Cremona, anno 1886
--------------------------------
POLITI, RAUL
Born 1913. Son and pupil of Enrico. Followed the career of a violinist until 1934. Worked at Rome. Completed 150 instruments up to year 1950. Strad design generally, but with edge slightly raised. Reddish-orange varnish. £90, 1960.
------------------------------
Raul Politi
figlio di Enrico
Fece Roma - anno 19. .
------------------------------
(signature on left)
POLLASTRI, GAETANO
Born at Bologna 1886. Brother and pupil of Augusto. Fine reputation from 1927. Models similar to those of brother, as also the varnish. £125, 1960.
------------------------------------
Pollastri Gaetano
Fratello ed allievo di Augusto
Bologna 1928
------------------------------------
---------------------
Gaetano Pollastri
fece in Bologna
1950
---------------------
(very fancifully designed)
POLLER, ANTON
Born at Fleissen (Bohemia) 1873. Learned his profession at Schönbach and Markneukirchen. Worked in the best shops in Germany, Austria and Hungary. Established at Vienna 1904. Assisted in the instrument making by his clever wife. Attained a unique position in the Austrian metropolis, a position similar to that held by Hill & Sons in London. Director for several years of the Violin-makers’ Guild at Vienna. Met with a sudden and tragic death, 1925. Very careful modelling, mostly Stradivarian. Altogether superfine workmanship. Possessed large quantities of a very fine and beautifully straight-veined pine; also the prettiest possible maple. Reddish-yellow oil varnish soberly applied. Violas and ’cellos similar in style and varnish. Always eschewed all so-called secrets of construction and varnish. £90, 1960.
---------------------
Antonius Poller
Faciebat Viennae
Anno 1916
---------------------
(bearing three designs of royal insignias, etc.)
POLLER, MICHAEL (1)
Worked at Mittenwald 1760-1803. Pupil of Klotz whose work he generally copied with fidelity. Outline and arching harmoniously formed - quite a captivating contour. Worked earnestly for the love of his art alone, and his achievements are no dishonour to the Tyrolese school. Body length 35.7 c.m. Sound-holes very prettily shaped. Arching never overdone in height, but of a graceful medium. Scroll not so carefully manipulated, and altogether lacks the essential dignity. Belly wood occasionally full of imperfections, and we are surprised that he did not discard such poor material, but perhaps, at the time, no other was available. The better wood is usually of medium grain. Backs also vary, seldom superbly marked material, more often one with a very slight curl, and some quite plain and bad with a wobbly grain running from top to bottom. Golden-yellow varnish with brownish tint which is superior to that of many Mittenwald makers. Nice smooth tone, even and round, but not powerful. Best period 1765-1784. A few specimens dated around 1781 are broader and flatter than the others. Catalogued at £25 (1930). Occasionally 150 dollars in the U.S.A. £85, 1960.
Labels, some in ordinary type, others in German lettering with decorative border.
-------------------------------------------
Michael Poller Geigenmacher
in Mittenwald an der Iser, An 1803.
-------------------------------------------
---------------------------------------
Michael Boller Geigenmacher
in Mittenwald an der Iser. 1796
---------------------------------------
POLLER, MICHAEL (2)
Worked at Mittenwald 1846. Pretty modelling reminiscent of the Amati. Red-brown valnish of elastic quality. Some of his instruments labelled as Amatis find their way into auction rooms, in fact such forgeries are extremely rife.
POSCH, ANTON
Name sometimes given as Bosch or Bosche. Born 1677. Worked in the Kärnter-Viertel, Vienna, from 1706. Died 1742. Appointed lute maker to the Royal Court, 1721. Enjoyed an enviable reputation throughout Austria. There are strong reasons for believing that he employed chemical and heating agencies to get a mellow quality of tone (now, in most of his violins, degenerated into feebleness). Modelling not particularly attractive. Sometimes broadly proportioned and top heavy, but also an outline conforming more with the normal. Arching generally of medium swell but others (notably the earlier dated) have an ugly bulginess. Scroll rather artistically worked, sound-holes less so. General appearance (albeit commonplace) rather typical of the Bavarian type, apparently he came from Fuessen or Vils in that country. Workmanship passably good but some distance from actual refinement. Purfling not traced without an occasional irregularity. Belly wood usually of fine grain, backs often of pretty flamed maple. Sometimes a two-piece back with one-piece top. Often worked the graduations of the belly and back too thin, which resulted in the purfling being broken here and there. Reddish golden yellow varnish, originally of lovely hue, but now mostly gone to a dark and dull brownish red. Poverty of texture very noticeable on early violins, several today having speckled tops or a dark strain running riot in streaks. Best period 1723-1730. Catalogued at £20 (1925), occasionally 150 dollars in the U.S.A. Tonal quality not especially sweet, also without brilliancy and clearness, a peculiar timbre which can never win approbation from a keen sensibility.
Also produced violas, ’cellos, lutes and guitars. Label bearing in centre the Austrian Double Eagle, but not previous to 1721-
---------------------------------
Anthony Posch
Kay: Hoff Lauthen
Macher in Wien. Ao. 1733
---------------------------------
POSTACCHINI, ANDREA
Born at Fermo, 1786. Son of Amico. Died 1862. Produced about 300 instruments. having, of course, various degrees of excellence. First series of unhappy Amatese modelling, embryo workmanship, especially the scroll, irregular purfling (occasionally ink lines) and deep orange varnish of rather poor quality. Each successive instrument, however, had certain inaccuracies obliterated as the years passed. Second period, suggestive of Gagliano influencies. Here he shows he could dispose of stiff pieces of wood into something full of grace, something that seems to have shaped itself naturally and from which we anticipate quick responsiveness of tone. The most minute details for a perfect representation of the sometimes fugitive harmonious combinations in contour have not eluded his imagination, nor his skill. Carving, shape and pose of scroll affords that momentary glow of the eye which precedes admiration. Sound-holes too, quite well carved. Generally strong in wood, exceptionally hadsome material for backs and often finely veined for tops. Not a tinge of awkwardness in manipulation of purfling. Generally golden yellow varnish with brilliance and of splendid consistancy. Tonal quality remarkably full, of almost mesmeric spontaneity in rapid passages, and rich enough for any soloist. Third period examples much on Stradivarian lines, generous proportions, very slight gradient, deepish ribs, deep cherry red varnish with a touch of brown impregnating through, elastic and as smooth as foulard. Most skilful modelling with no imperfections to be criticised by the keenest eyes. Players fastidious in tonal matters should welcome these superb violins as an invaluable economy of time when assiduously practising for rapid fingering clarity and to ameliorate irritability sometimes arising from partial failure. One specimen (dated 1819) realised 700 dollars at Chicago, 1928. Violas and ’cellos of Strad modelling, generally with deep orange red varnish. Two double basses known. Also guitars. £175 to £350, 1960 (depending on model).
-------------------------------
Andrea Postacchini amici
filius fecit Fermi
anno 1813
-------------------------------
(written)
----------------------------------------
Andreas Postacchini Amici filius
fecit Firmi Anno 1819. Opus III.
----------------------------------------
----------------------------------------------
Andreas Postacchini Firmanus fecit
sub titulo S. Raphaelis Archang. 1854
----------------------------------------------
POSTIGLIONE, VINCENZO (1)
Worked at Naples, 1790-1840. Splendid Gagliano modelling, orange yellow varnish. £200, 1960.
POSTIGLIONE, VINCENZO (2)
Born at Naples, 1831. Son of the preceding. Apprenticed to Vincenzo Jorio for five years, 1847-1852. Afterwards devoted serious attention to the study of old instruments, this laudable educational movement being materially furthered by receiving a well imbursed commission to “look after” the large and valuable collection of a certain opulent amateur named Fummo. Established own workshop at Naples, 1855. Died 1916. Conscientiously imbibed the traditions of the parent school of Cremona, instruments have the geometrical exactness established by his celebrated predecessors. Copied the external characteristics of the old master violins with marked success, and so remarkable is the similarity to the originals that he occasionally “stooped” to putting in fictitious labels, although he did not omit to brand his initials in a place only to be seen when the instrument is taken to pieces. Nicolas Gagliano copies awarded considerable praise on account of the lovely old yellow varnish and responsively clear tone. He had, however, a partiality for the Guarnerius model and there lies his very best workmanship. Perfect drawing of the outline, equally perfect graduations of belly and back. Scroll has all the individuality and fine curves of the original. Beautifully Gothicised sound-holes but seemingly a little longer than the typical Guarnerius. Also careful measurement from corner to corner of the middle C’s show a very tiny increased distance. Always magnificent wood. Rich orange red varnish most artistically applied. Large and brilliant, tone of fine carrying power. Completed 278 violins, 60 violas, 115 ’cellos, 29 double basses, 9 viol d’amours and 14 viola-da-gambas. Also violas and ’cellos both with similar excellencies.
------------------------------------
V P T
+ Vincentius Postiglione T T
Me fecit Neapoli Anno 18. .
------------------------------------
----------------------------
VincentiusPostiglione
Me fecit Neapoli Anno
1873
----------------------------
(initials and a cross encircled)
---------------------------
Vincentius Postiglione
me fecit Neap: 1882
---------------------------
Sometimes branded “P” on the button. Some instruments anti-dated to the 18th century. Business controlled by sons, 1910. £350, 1960.
POT, JOHANNES
Amateur. Born 1886. Lived in Dutch Indies, 1914-1930. Resident at Amesfoord, 1931. Won diploma at The Hague, 1949. Produced 80 violins, 23 violas and 7 ’cellos. Individualistic modelling basedon the Stradivarian. Spirit varnish of own formula.
POUZOL, EMILE
Worked at Avignon (Framce), 1908-1930. Went to America later.
-----------------
Emile Pauzol
Anno
-----------------
(decorative border, monogram in floral design)
POWERS, CLARK
Born at Vermont (U.S.A.), 1856. Worked in England, Germany and Austria. Established at Boston, 1888. Modelling, though having trifling originalities, follows in general that of the Cremonese. Superior workmanship. Appearance somewhat similar to the Markneukirchen exportations. Oil and spirit varnishes.
----------------------------------------
No. . . . . The
Equipoise
Clark Powers, Maker, Boston.
Pat. No. 625058. May 16. 1899
----------------------------------------
PRAGA, EUGENIO
Born 1847. Pupil and successor of Bianchi, 1869. Established at Genoa. Died 1901. Instruments having all the perfections of external beauty. Beautifully designed outline, arching replete with artistry. Modelling principally after Guarnerius but also produced Stradivarian examples. Famous for remarkable replicas of the Paganini Guarnerius preserved at the Genoa Museum. Easily positioned, haughty looking but dignified scroll adds character and “point” to the whole. Infinite gracefulness of sound-holes. Neat and accurate purfling. Varnish, highly etherealised of various hues, yellow to russet tinge, affording constant pleasure to the picturesque appraising eyes. Some instruments varnished with a special spirit preparation. Fresh, strong and penetrating tone. Produced several interesting violins very Rocca-like. Name sometimes given as Pragua.
------------------------
Eugenio Praga fece
Genuae. Anno 18-
------------------------
------------------------
Eugenio Praga fece
in Genova, 1878.
------------------------
Also branded. Clever bow maker who knew what the artist requires. Awarded several medals. £125 (bows £10 upwards).
PRAGER, AUGUST EDWIN
Established at Schönlind (Saxony), 1925. Bow maker. Generally round sticks of chocolate colour. Some finely mounted in gold and tortoiseshell. Skilfully balanced and splendidly finished. Made by hand throughout. Elevated to a high position in the estimation of players and connoisseurs alike. Replicas of the Tubbs, Tourte and Bausch. Stamped “Aug. Edwin Prager”. £10-£15-£20, 1960.
PRAGER, OSKAR GUSTAV
Born 1866. Worked at Markneukirchen. Died 1931. Excellent copies of Cremonese models. £60, 1960.
PRAILL, RONALD WILLIAM
Born 1903 in London. Talented amateur who made a small number of excellent toned violins. Used handsome wood and worked on his own large model which measures a full 14-1/8 inches. Neat purfling with raised head on edge. Scrolls and sound-holes finely carved. Also made Stradivari and Pressenda copies. Golden brown or orange brown amber varnish, carefully finished and attractive appearance.
---------------------------
Ronald William Praill.
No. London. 19
---------------------------
(printed)
Still working 1960.
PRELL, HERMANN WILHELM
Born 1875. Pupil of H. Hoyer, also worked for Sartory at Paris. Established at Markneukirchen, 1898-1925. Beauty of design and perfect balance gives to these bows a super eminent value. Fine pernambuco sticks usually round, others octagonal of a chocolate brown shade. Stamped “Herm. W. Prell”. Business carried on by son and pupil H. A. Wilhem (born 1899). £20, 1960.
PRESSENDA, GIOVANNI FRANCESCO
Born at Lequio Berria (Piedmont), 1777. Learned to play the violin from his father, Raffaello (a fiddler who travelled through the villages around Turin, also repaired fiddles). Found his way to Cremona and passed into the workshop of Lorenzo Storioni. Studied very assiduously, gained the necessary experience but seemingly not keen to copy that maker’s style. Resided at Alba, 1814, where he combined cabinet making and jeweller’s work with his violin construction and repairing. Lived in somewhat insignificant circumstances at Carmagnola, 1816. Worked for a year or so at Marseilles. Settled at Turin, 1820. Died there, 1854. A profound worker, a man of vast compass of thought relating to his art, thoroughly imbued with the artistry of the Cremona and French schools, and able to master, to mould, to impregnate the diversified characteristics into his violins. He had that universality which marks the highest order, eschewed mere pedantry, and felt too well the pride of creation to restrict himself entirely to the rules of any one predecessor. His undeniably fine productions, however, received scanty appreciation until Polledro (principal soloist at the Turin and other Courts, Opera Houses and concerts) took a fancy to them and caused Pressenda’s name to be more recognised throughout Northern Italy. Discovery of the true value of Pressenda violins lies at the foot of Wilhelmj, who (in 1895) circulated unrestricted praises upon their merits (he had then purchased 80 instruments), inflated the prices and his pupils and adherents soon became owners. Polledro had not the same opportunity nor so good a reason financially, inasmuch that the instruments could only be regarded as new ones in his day, consequently not making the same appeal as they did 70 years later. We hope we shall not be charged with exaggerated bombast when asserting that the Pressendas will be the violins of Italy in generations to come. We rejoice that the dust, accumulated whilst hanging on the walls of fiddle dealers’ shops, was wiped off under the patronage of Wilhelmj, and that soloists and good amateur players have now learned what the initiated had long known in relation to the tonal properties being hardly inferior to any, and marked throughout with all the essentialities of fine concert violins. It was perhaps as well that Pressenda, in his day, did not enjoy great popularity, for one bad consequence of attracting the multitude is that men of genius are sometimes too anxious to cater for the various tastes and instant demand sort of thing, preferring a present shout of popularity and its consequent increase of the exchequer to that less tumultuous but deeper and more thrilling note of fame which resounds and grows clearer and lounder through the future ages. Early specimens (up to year 1831) relatively scarce and show distinctive traits differentiating from the later ones. Outline much influenced by the Amati, sound-holes rather graceful and nicely reclining towards the centre of body, scroll also slightly different from the later types. Varnish not always absolutely satisfactory. Found his ideal in 1831, and seldom deviated from it afterwards. Truly an impressive model. Stradivarian outline with a shade more scooping towards the edges, adding a peculiar significance easily discernible, and giving a healthy and vigorous appearance, a sort of Stradivarian-Guarnerian blend, massive, but never heavy looking. We see none of the exaggeration which makes so many of the semi-modern Italian instruments effeminate. Body length seldom exceeds 14 inches. Broad arching, long and flat, sometimes almost not an arch. Some specimens of the late period have an abrupt but slight rise quite near the purfling, consequently impairing freedom of tone. Ribs seem a shade narrow, corners artistic. Acme of art characterises the sound-holes, somewhat reminiscent of the Guarnerian but never of Gothic severity. Bold scrolls with a certain originality and incisively cut, but sometimes rather carelessly finished. It is said that he invariably left the gauge marks more or less distinctly visible in the centre of the “shell” (i.e. the back of the scroll). Possibly Pressenda was desirous of avoiding an appearance of newness, but no matter what were his reasons the scrolls are so very good that it is almost exasperating to think he might have given us better ones. Belly wood generally of strong fibre but some specimens have very tender material which frequently renders them sensitive to atmospheric conditions of a concert room which when very warm has the detrimental “tightening” of tone. Also had a decided preference for one-piece backs of unusually fine flame, cut on the quarter, but it is erroneous to aver (as some have done) that he never used divided backs. Several examples known with particularly handsome two-piece backs usually of a closely knit flame. Made fairly extensive experiments in varnish, varies somewhat in shade and looks much softer in texture on some instruments than on others, the difference in appearance being generally attributable to the figure and density of the wood underneath, most frequently of a peculiarly rich red, and the backs having this unique shade create thoughts of the lovely old Honduras mahogany. Others of a deeper red, also a light amber brown, occasionally looks chippy. Tonal quality of penetrative strength, not robustly powerful under the ear but infinitely finer in silvery clarity and sonorous smoothness. Specimen dated 1830: body length, 13.15/16 inches; upper bouts, 6.9/16; middle, 4-1/2; lower, 8.3/16; ribs 1-1/4. Labels usually small in size and print, early dated smaller than the later.
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Joannes Franciscus Pressenda q. Raphael
fecit Taurini anno Domini 1828
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Bust, sculptured by Reduzzi, erected at Turin, 1912. £800, 1960.
PRESTON, JAMES
Worked in Banbury Court (Long Acre) and the Strand, London, 1724-1770. Had slight knowledge of violin construction or at least the power of applying it. Modelling altogether deficient in grace of outline. Often lamentable inaccuracies in the proportions. Sometimes a scroll preposterously large for the small build of instrument. All technicalities indifferently finished. Common and badly fibred wood for belly and fir tree material for backs. Reddish brown varnish some of it now quite dark. Occasionally there are instruments bearing his label which are less mediocre, but these are supposed to have been made by other hands perhaps under his employ. ’Cellos belong to this better class, although still only ordinary. Undulatory theories of the arching are less mis-shapen than similar things of the violins. Also produced guitars.
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Preston - London.
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J. Preston
97 Strand, London
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Preston, maker
London
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Some written, others printed.
PRESTON, JAMES
Retired grocer, resident at Auckland (New Zealand), 1925. A “rough diamond” sort of man possessing artistic instincts. Enjoyed his hobby whilst under the tutorship of George Nicoll, 1912, and this was not quite fruitless. Made several violins perhaps rather embryonic in style and workmanship but he achieved satisfactory results in tone.
PRICE, REGINALD GORDON
Violin maker. Instruments of fine tone and carrying power. First-class repairs. Working at New Malden, Surrey (1948).
PRIESTNALL, JOHN
Born 1819. Amateur. Resident at Rochdale, 1840. Died 1899. Produced 300 violins, 30 violas, 6 ’cellos and 8 double basses. Reasonably good workmanship but indifferent varnish. Name and number of instrument branded on button. £30.
PRINCE, W.
Born 1856. Worked at Tooting. Died 1926. Modest but praiseworthy violins and ’cellos.
PROKOP, LADISLAV FR
Born at Hlinsko, 1843. Son and pupil of F.D. Succeeded father and worked at native place, 1870-1875. Established at Chrudim (Bohemia), 1876-1925. Various models of the Stainer, Amati and Stradivarius, also one of own design somewhat corresponding to the Stainer. Several improvements to meet the neck and peg box. Awarded several medals at European Exhibitions.
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Ladislav F. Prokop Hotovitel
Ludebnich nastroju v Chrudimi
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PULPANECK, FRITZ
Bom at Konigsberg (Prussia), 1878. Worked at Berlin, Leipzig and Dusseldorf. Settled at Los Angeles, 1911. Superiority in faithfully reproducing the models of Stradivarius and Guarnerius. Workmanship acknowledged to be second to no other. Scrolls splendidly conceived and cleverly cut to avoid exaggeration. Natural looking sound-holes. Perfectly and strongly veined belly wood. Handsome backs. Oil and spirit varnishes from orange to a vivid red brown. In some cases the management of the chiaro-oscuro effect is skilfully executed. Excellent tonal quality, free emission, fairly smooth and velvety, also considerably powerful. Made a specially uniform set of instruments for the well-known Brahms quartet party, 1925. £90, 1960.
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Fritz Pulpaneck fecit anno 1911
Los Angeles. California
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Monogram within a triangle.
PUPUNAT, FRANÇOIS MARIE
Worked at Lausanne (Switzerland), 1836. Died 1868. Cabinet maker belonging to a religious brotherhood. Embarked on violin making and expanded his views by comparing various types of violins and elucidating their varied principles. Modelling partakes of a reunion of several standard types, conceived with certain small digressions peculiar to himself. Sometimes medium arching and sometimes quite flat. Excellent scroll showing adroit cutting. Pretentiously small sound-holes which arrest the attention but do not create much admiration. Light brown and dark yellow shades of spirit varnish, not particularly dazzling in hue though seemingly of good texture. No timidity of manipulation about the purfling. Finest woods back and front. Made 300 violins, 25 ’cellos and 20 violas (generally of small size).
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Franciscus Maria Pupunatus
Fecit
Lausannae Anno 1847
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Branded “F.M.P.” Sometimes “Franziskus” instead of “Franciscus”. Also produced elegantly designed bows stamped “Pupunat”. £70, 1960.
PURDAY, T. E.
Worked in London, 1800-1855. In partnership with Button and later with Fendt. Early instruments, both violins and ’cellos, rather verge on mediocrity. Some unpurfled. Generally brown varnish, but those made in collaboration with Fendt are quite excellent in every respect, and more particularly the varnish, of fine hue if not ideally supple.
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T. E. Purday
Late Clementi & Co.
1838.
St. Paul’s Churchyard
London
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Purdy and Fendt
Manufacturers of
Violins, ’cellos, etc.
Dean St. Soho. 1850.
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Advertisement, 1852 - “We invite connoisseurs to our oil varnish similar as that used by the Cremonese.” £60, 1960.
PYNE, GEORGE
Born at Stepney (London), 1852. Studied the violin from boyhood. Member of various theatre orchestras after 18th year. Always naturally clever at wood carving, and was often requested to do odd repairing jobs by the fiddlers he was daily fraternising with; unusual quickness in the use of tools soon led him to build his own instruments. Soon became surrounded with enthusiasts (chiefly orchestral players) all being attracted by his undoubted ability in the “luthiers art”. Each violin was practically sold before completion and he had a long waiting list of prospective customers, a prosperous condition seldom interrupted during his career. An out and out patriotic Englishman, spiritually and mentally, so much so as to sometimes render his independence injurious to his bank book. To ask him to copy an old Italian violin, give it a worn appearance and other tricks of the trade, including the insertion of fictitious labels, was anathema to him, an act of unpatriotic suicide of British prestige, honour and ability. Never did he descend to the base motive of getting money through deception and his unshakeable resistance against the repeated bombardments of certain unscrupulous dealers was known throughout the trade. One must admire his blunt sincerity and this quality made him quite the players’ friend. For making a good all-round, unchemicalised and well timbered instrument for lowness of price, for general excellence of tone, for orchestral players, he had few compeers. Worked 20 years for Edward Withers in Wardour Street. Lived at West Ham, where he died, 1921. Produced about 500 violins and violas. Several models of Stradivarius, Guarnerius and the long Amati, the latter being his favourite. Reconstructed hundreds of old instruments, but to these he attached no repairing label or any small mark. Satisfied to get £5 for any specimen he produced. The same things catalogued at £20 and £30 (1932). Did not at first believe in oil varnish, used a spirit one instead. Had a strong conviction that varnish of any sort scarcely influenced the tone. His own preparation was of yellow shade, rather lifeless in hue and not supple, the one weakness that has been detrimental to the greater popularity of his instruments. A few of his later violins have a warmer and richer oil varnish of a sort of Amatese yellow shade. Made everything entirely with his own hands, had no apprentices or assistants whatsoever. Unique personality attached him to his patrons as much as the excellence of his work.
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George Pyne. Maker, London
Anno 1918
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George Pyne
Wardour Street
London 1892
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Also “G. Pyne, London” branded in two places. Regarded many dealers and connoisseurs with distrust and entertained a strong aversion to what he considered their mendacious eulogy of the many second-rate old Italian violins and their detraction of modern ones. This procedure he contended, was an old exaggeration and perversion of the truth, testified to by the results of tonal tests between old and new, frequently favouring the latter. Opined that the laudation of certain old violins as being superior to the modern is promulgated not to establish the facts truly, but for the creation of hypnotising the public into giving exorbitant prices, thus constituting an unjust regardlessness of the important necessities of average professional players. He was a persistent upholder of English makers, their superiority over, or at least, equality with any in Europe, brooked no contradiction, and allowed no one to de-throne them by speech at any rate. Used a full vocabulary of invective against the sharp practices of selling sundry old fiddles at inflated prices. One of his slogans was: “every violin I supply for £5 is a slosh in the neck for dealers who want £50 for an old crock sometimes worth ten times less in actual tone”. Slosh in the neck may not be elegant but there is a certain element of truth there and, by those who knew him also knew it to be the quintessance of the man and smiled at his temerity. Finally, he practised what he preached, therefore his memory should be honoured. Wrote a book on “Violin Tone and Construction” which remained in manuscript. £60, 1960.