The Violin / Its Famous Makers and Their Imitators

by George Hart

SECTION XII

English Makers

ABSAM, Thomas, Wakefield, 1833.

Made by
Thomas Absam,
Wakefield, Feb. 14,
1833.

ADAMS, Garmouth, Scotland, 1800.

ADDISON, William, London, 1670.

AIRETON, Edmund. Was originally employed in the workshop of Peter Wamsley, at the "Harp and Hautboy," in Piccadilly. He made a great many excellent Violins and Violoncellos, and chiefly copied Amati. Varnish of fair quality; colour yellow. He died at the advanced age of 80, in the year 1807.

ALDRED, ——, about 1560. Maker of Viols.

ASKEY, Samuel, London, about 1825.

BAINES, about 1780.

BAKER, ——, Oxford. Mention is made of a Viol of this maker in the catalogue of the music and instruments of Tom Britton, the small-coal man.

BALLANTINE, Edinburgh and Glasgow, 1850.

Benjamin Banks, Musical Instrument Maker In Catherine Street, Salisbury. 1780.

BANKS, Benjamin, Salisbury, born 1727, died 1795. To this famous maker must be given the foremost place in the English School. He was a thorough artist, and would not have been thought lightly of had he worked in Cremona's school, and been judged by its standard. This may be considered excessive praise of our native maker; but an unprejudiced judge of work need only turn to the best specimens of Banks's instruments, and he will confess that I have merely recorded a fact.

Banks is, again, one of the many instances of men who have gained a lasting reputation, but whose histories have never reached the light to which their names have attained. How interesting would it be to obtain the name of his master in the knowledge of making instruments! No clue whatever remains by which we could arrive at a satisfactory conclusion on this point. That he was an enthusiast in his art is certain, and also that he was aware to some extent that he possessed talent of no mean description. This is evidenced by the fact that many of his instruments are branded with the letters B. B. in several places, as though he felt that sooner or later his works would be highly esteemed, and would survive base imitations, and that by carefully branding them he might prevent any doubt as to their author. Many of his best instruments are found to have no brand: it would seem, therefore, that he did not so mark them for some time. He appears to have early shown a preference for the model of Niccolò Amati, and laboured unceasingly in imitation of him, until he copied him with an exactness difficult to surpass. Now that time has mellowed his best works, they might pass as original Amatis with those not perfectly versed in the characteristics of the latter. Many German makers excelled as copyists of Amati; but these makers chiefly failed in their varnish, whereas Banks was most happy in this particular, both as regards colour and quality. If his varnish be closely examined, its purity and richness of colour are readily seen. It has all the characteristics of fine Italian varnish, being beautifully transparent, mellow, and rich in its varieties of tints. It must be distinctly understood that these remarks apply only to the very finest works of this maker, there being many specimens which bear the label of Banks in the framing of which he probably took but a small share, leaving the chief part to be done by his son and others. Banks cannot be considered as having been successful in the use of his varnish on the bellies of his instruments, as he has allowed it to clog the fibre, a blemish which affects the appearance very much, and has been the means of casting discredit on the varnish among those unacquainted with the real cause. The modelling is executed with skill. Fortunately, sufficient wood has been left in his instruments to enable time to exert its beneficial effects, a desideratum overlooked by many makers of good repute. The only feature of his work which can be considered as wanting in merit is the scroll, which is somewhat cramped, and fails to convey the meaning intended, viz., the following of Amati; but as this is a point having reference to appearance, and therefore solely affecting the connoisseur, it may be passed over lightly, and the more so when we consider that Banks was not the only clever workman who has failed in head-cutting. He made Violins, Tenors, and Violoncellos, all excellent; but the last-named have the preference. His large Violoncellos are the best; those of the smaller pattern are equally well made, but lack depth of tone. The red-varnished instruments are the favourites.

BANKS, Benjamin, son of the above, born in September, 1754; died January, 1820. Worked many years with his father at Salisbury, afterwards removed to London, and lived at 30, Sherrard Street, Golden Square.

James and Henry Banks, Musical Instrument Makers and Music Sellers, 18 Salisbury. 02

BANKS, James. Brother of the above. For some years carried on the business of his father at Salisbury, in conjunction with his brother Henry. They ultimately sold the business and removed to Liverpool. The instruments of James and Henry Banks are of average merit.

BARNES, Robert, 1710. Worked with Thomas Smith at the "Harp and Hautboy" in Piccadilly. Afterwards partner with John Norris.

John Barrett, at the Harp and Crown in Pickadilly, 17— Made by John Barrett at ye Harp & Crown in Pickadilly, London, 17—

BARRETT, John, 1714. An average workman, who followed the model of Stainer. His shop bore the sign of the "Harp and Crown." Barrett was one of the earliest copyists of Stainer, and in the chain of English makers is linked with Barak Norman and Nathaniel Cross. The wood is generally of a very good quality, the varnish yellow.

BARTON, George, Old Bailey, London, about 1780-1810.

Jo. Betts, No. 2, near Northgate the Royal Exchange, London, 17—

BETTS, John, born 1755, at Stamford, Lincolnshire, died in 1823. Became a pupil of Richard Duke. He commenced business in one of the shops of the Royal Exchange, where he soon enjoyed considerable patronage. John Betts does not appear to have made a great number of instruments, but employed many workmen, into whose instruments he inserted his trade label. He was, perhaps, the earliest London dealer in Italian instruments. His quaintly-worded business card runs:—

"John Betts, Real Musical Instrument Maker, at the Violin and German Flute, No. 2, under the North Piazza of the Royal Exchange, makes in the neatest manner, Violins the patterns of Antonius Stradivarius, Hièronymus Amati, Jacobus Stainer, and Tyrols. Equal for the fine, full, mellow tone to those made in Cremona. Tenors, Violoncellos, Pentachords, &c., &c., &c."

The sound-holes of Betts' instruments are rather wide; broad purfling; scroll well cut.

BETTS, Edward, nephew of John Betts; was a pupil of Richard Duke, whose work he copied with considerable skill. Of course, in trying to imitate Duke he was copying Amati, Richard Duke having spent his life in working after the Amati pattern, without attempting to model for himself. The care bestowed by Edward Betts on his instruments was of no ordinary kind. The workmanship throughout is of the most delicate description; indeed, it may be said that neatness is gained at the expense of individuality in many of his works. Each part is faultless in finish, but when viewed as a whole the result is too mechanical, giving as it does the notion of its having been turned out of a mould. Nevertheless, this maker takes rank with the foremost of the English copyists, and in his instruments we have as good specimens of undisguised work as can be readily found. They will be yearly more valued.

THE "BETTS" STRADIVARI. 1704. (R. D. WADDELL, ESQ.) Plate XVII.

BOLLES, ——, An early maker of Lutes and Viols.

BOOTH, William, 1779 to about 1858, Leeds.

BOOTH, ——, son of the above, Leeds, died 1856.

BOUCHER, ——, London, 1764.

BROWN, James, London, born 1770, died 1834. Worked with Thomas Kennedy.

BROWN, James, London, son of the above, born 1786, died 1860.

BROWNE, John, London, about 1743. Worked at the sign of the "Black Lion," Cornhill. Good work. Amati pattern. Scroll well cut; hard varnish.

CAHUSAC, ——, London, 1788. Associated with the sons of Banks.

CARTER, John, London, 1789, worked with John Betts, and afterwards at Drury Lane on his own account.

CHALLONER, Thomas, London. Similar to Wamsley.

COLE, Thomas, London, 1690.

Thomas Cole, near Fetter Lane
In Holborn, 16—

COLE, James, Manchester, 19th century.

COLLIER, Samuel, 1750.

COLLIER, Thomas, 1775.

COLLINGWOOD, Joseph, London, 1760.

CONWAY, William, 1750.

CORSBY, ——, Northampton, 1780. Chiefly made Double-Basses.

CORSBY, George. Lived upwards of half a century in Princes Street, Leicester Square, where he worked and dealt in old instruments.

CRAMOND, Charles, Aberdeen, 19th century.

CRASK, George, Manchester. He made a large number of instruments, chiefly imitations.

CROSS, Nathaniel, London, about 1700-50. Worked with Barak Norman. He made several good Violins. Purfling narrow; excellent scroll.

CROWTHER, John, 1760-1810.

CUTHBERT, London, 17th century. Maker of Viols and Violins. Many of the latter have merit. Model flat, and wood of good quality. Very dark varnish.

DAVIDSON, Hay, Huntley, 1870.

DAVIS, Richard. Worked with Norris and Barnes.

DAVIS, William, London. Succeeded Richard Davis in the business now carried on by Edward Withers.

DEARLOVE, Mark, Leeds.

Dearlove and Fryer,
Musical Instrument Manufacturers,
Boar Lane, Leeds, 1828.

DELANY, John, Dublin. Used two kinds of labels, one of them very small—

Made by John Delany,
No. 17, Britain Street, Dublin. 1808.

In the other, which is larger, he states that he made Violins that his name might be of immortal memory.

Made by John Delany,
In order to perpetuate his memory in future ages.
Dublin. 1808.
Liberty to all the world
black and white.

DENNIS, Jesse, London, 1805.

DEVEREUX, John, Melbourne. When in England he worked with B. Simon Fendt.

DICKINSON, Edward, London, 1750. Made instruments of average merit. The model is high.

Edward Dickinson,
Maker, at the Harp and Crown in the Strand,
near Exeter Change,
London. 17—

DICKESON, John, 1750-80, a native of Stirling. He would seem to have lived in various places, some instruments dating from London and some from Cambridge. He was an excellent workman, and chiefly copied Amati. His work much resembles that of Cappa.

DITTON, London, about 1700. Mention is made of an instrument by this maker in Tom Britton's Catalogue.

T. Dodd, Violin, Violoncello and Bow Maker, New Street, Covent Garden.

DODD, Thomas, son of Edward Dodd, of Sheffield. He was not a maker of Violins. Numerous instruments bear his name, but they are the work of John Lott and Bernard Fendt. The merit of these instruments is of the highest order, and they are justly appreciated by both player and connoisseur. Thomas Dodd deserves to be mentioned in terms of high praise, notwithstanding that the work was not executed by him, for his judgment was brought to bear upon the manufacture during its various stages, and more particularly in the varnishing, in which he took the liveliest interest. He had a method of mixing colours, the superior qualities of which he seems to have fully known, if we may judge from the note on his labels, which runs thus: "The only possessor of the recipe for preparing the original Cremona varnish. Instruments improved and repaired." This undoubtedly savours of presumption, and is certainly wide of the truth. Nevertheless there is ample evidence that the varnish used by Thomas Dodd was very excellent, and had a rich appearance rarely to be met with in instruments of the English school. Dodd was encouraged in the art of varnish-making by persons of taste, who readily admitted the superior qualities of his composition, and paid him a handsome price for his instruments. He was thus enabled to gratify his taste in his productions by sparing no means to improve them. He ultimately attained such a reputation for his instruments as to command no less a sum than £40 or £50 for a Violoncello. Commanding such prices, it is evident that he spared no expense, or, what was to him a matter of still greater importance, no time. He was most particular in receiving the instruments in that incomplete stage known in the trade as "in the white," i.e., without varnish. He would then carefully varnish them with his own hands, guarding most warily the treasured secret of the composition of his varnish. That he never departed from this practice may be inferred from the fact that the varnish made by the workmen in his employ, apart from the establishment, for their own instruments, is of an entirely different stamp, and evidently shows that they were not in their master's secrets.

The instruments bearing the Dodd label are not valued to the extent of their deserts, and there can be but little doubt that in the course of time they will be valued according to their true merits. They were made by men of exceptional talent, who were neither restricted in price nor material. Under such favourable conditions the results could not fail to be good.

DODD, Thomas, London. Son of Thomas Dodd, musical instrument dealer, of St. Martin's Lane. The father, although not a maker of Violins, possessed excellent judgment, both as regards work and makers, which enabled his son to profit considerably during his early years whilst working with Fendt and Lott.

DORANT, William, London, 1814.

Richd. Duke, Londoni fecit 17— Richard Duke, Maker, Holborn, London. Ann. 17—

DUKE, Richard, worked from 1750-80. The name of this maker has long been a household word with English Violinists both amateur and professional. Who has not got a friend who is the fortunate owner of a veritable "Duke"? The fame of His Majesty Antonio Stradivari himself is not greater than that of Richard Duke in the eyes of many a Fiddle fancier. From his earliest fiddling days the name of Duke became familiar to him; he has heard more of him than of Stradivari, whom he somehow confuses with Cremona. He fondly imagines that Cremona was a celebrated maker, and Stradivari something else; inquires, and becomes more confused, and returns again to "Duke," with whom he is thoroughly at home.

Many excellent judges have wondered how it came to pass that Richard Duke should have been so highly valued, there being, in their estimation, so little amongst his remains worthy of the reputation he gained. The truth is that no maker, with the exception of the great Cremonese artists, has been so persistently counterfeited. The name of Duke has been stamped upon every wretched nondescript, until judges who had not the opportunity of seeing the genuine article mistook the copies for the original, and hence the confusion. When, however, a really fine specimen of Duke is once seen, it is not likely to be forgotten. As copies of Amati such instruments are scarcely surpassed, varnish, work, and material being of the best description. The copies of Stainer were not so successful.

DUKE, Richard, London. Son of the above.

DUNCAN, ——, Aberdeen, 1762.

DUNCAN, George, Glasgow, contemporary.

EGLINGTON, ——, London, 1800.

EVANS, Richard, London, 1750. His label is a curiosity—

Maid in the Paris of
Lanirhengel, by Richard
Evans, Instrument maker,
in the year 17—

FENDT, Bernard, born at Innsbruck, in the Tyrol, 1756, died 1832. He was evidently a born Fiddle-maker, genius being stamped, in a greater or less degree, upon all his works. To Thomas Dodd belongs the credit of bringing his talent into play. Dodd obtained the services of Fendt upon his arrival in England, which the latter reached at an early age. He remained with Dodd many years, frequently making instruments with John Frederick Lott. The instruments so made bear the label of Thomas Dodd. Lott being also a German, reciprocity of feeling sprung up between him and Fendt, which induced Lott to exchange the business to which he was brought up for that which his fellow countryman Fendt had adopted, and henceforth to make Violins instead of cabinets. By securing the services of these admirable workmen, Dodd reaped a rich harvest. He found in them men capable of carrying out his instructions with an exactness that could not be surpassed. Dodd was unable to use the tools himself; but in Fendt and Lott he had men who were consummate masters of them. When the instruments were finished, as far as construction was concerned, they were clothed in coats of the master's livery—"Dodd's varnish," the secret of making which he kept carefully to himself. With these coats of varnish upon them the work was doubly effective, and every point of excellence was made to shine with the happiest effect. Upon leaving the workshop of Thomas Dodd, Bernard Fendt worked for John Betts, making many of those copies of Amati which are associated with the name of Betts, and which have so high a value.

Although Fendt was German by birth, his style of work cannot be considered as German in character. Having early quitted his post of trade in Paris for England, and having in this country placed himself under the guidance of Dodd, who steadfastly kept before his workmen the originals of the great Italian masters for models, his work acquired a distinctive stamp of its own, and in its turn gave rise to a new and independent class of makers.

FENDT, Bernard Simon, London, born in 1800, died in 1852. Son of the above. He was an excellent workman. It is to be regretted that he did not follow the excellent example set by his father, and let time do its work, without interruption, upon his instruments. Had he done so they would, in many instances, have been equal to those of his parent; but, unfortunately, he worked when the mania for obtaining supposed maturity by artificial means was at its height, and shared the general infatuation, and, in consequence, very frequently destroyed all the stamina of his instruments. Subsequently he became a partner of George Purdy, and carried on a joint business at Finch Lane, in the City of London, from whence most of his best instruments date. Purdy and Fendt had also a shop in the West End about 1843. He was a most assiduous worker. The number of Violins, Tenors, Violoncellos, and Double-Basses that he made was very great; indeed, his reputation would have been greater had he been content to have made fewer instruments and to have exercised more general care. His copies of Guarneri are most numerous, numbering some hundreds. They are mostly varnished with a glaring red colour, of a hard nature. He made many good Double-Basses of the Gasparo da Salò form, the varnish on which is superior to that on his Violins. He made also an excellent quartette of instruments—Violin, Viola, Violoncello, and Double-Bass—for the Exhibition of 1851. They were certainly the best contemporary instruments exhibited, but he failed to obtain the prize medal.

FENDT, Martin, London, born 1812, died 1845. Brother of the above. Worked for Betts.

FENDT, Jacob, London, born 1815, died 1849. Third son of Bernard Fendt. The best maker among the sons of Bernard. His instruments are beautifully finished, and free from the stereotyped character belonging to those of his brother Bernard. As specimens of the imitator's art they are unsurpassed. One cannot but regret that such a consummate workman should have been obliged to waste his energies in making new work resemble that of a hundred years before. The patronage that he obtained was not of much value, but had he brought his work into the market in its natural condition he could not have lived by his trade. He was, therefore, compelled to foster that which he no doubt felt to be degrading. The copies of Stradivari by Jacob Fendt are among his best efforts. The work is well done; the discoloration of the wood cleverly managed, the effects of wear counterfeited with greater skill than had ever been done before, and finally, an amount of style is thrown into the work which transcends the ingenuity of any other copyist. Had he been allowed to copy the form of the old masters, as Lupot did, without imitating the actual wear of the instrument, we should have had a valuable addition to our present stock of instruments of the Panormo class.

FENDT, Francis, London. Fourth son of Bernard; also worked in Liverpool about 1856.

FENDT, William, London, born 1833, died 1852. Son of Bernard Simon Fendt. Was an excellent workman, and assisted his father in the manufacture of several of his Double-Basses.

FERGUSON, Donald, Huntley, Aberdeenshire.

FIRTH, G., Leeds, 1836.

William Forster, Violin Maker, in Brampton.

FORSTER, William, born in 1713, died 1801. The family of the Forsters have played no unimportant part in the history of Violins. The attention they commanded as makers, both from artists and amateurs, has probably never been equalled in England. Their instruments claimed attention from the moment they left their makers' hands, their construction being excellent in every way. William Forster was a native of Brampton, in Cumberland, where he followed the trade of a spinning-wheel maker, occupying his spare time in the making and repairing of Violins and musical instruments generally. His labours, as far as they relate to Violin-making, appear to have been of a very unpretending nature, but they served to impart a taste for the art to his son William, who was the best maker of the family.

William Forster, Violin Maker, in St. Martin's Lane, London, 17—

FORSTER, William, London, born 1739, died 1807. Son of William Forster mentioned above. Worked with his father at Brampton in Cumberland, making spinning-wheels and Violins—two singularly diverse occupations. It was, however, to the latter industry he gave the most attention, and he soon became the great maker of the neighbourhood. He afterwards added another string to his bow, viz., that of playing country-dances at the village festivities. Thus armed with three occupations, he must have been well employed. He seems to have early discovered that his abilities required a larger field in which to show themselves to advantage, and accordingly took the usual course in such circumstances—came to the Metropolis, in which he settled about the year 1759. He soon obtained employment at a musical instrument seller's on Tower Hill, and gave up, then and for ever, the making of spinning-wheels, while by throwing all his soul into the manufacture of Violins he soon gave his master's patrons the highest satisfaction. He ultimately commenced business on his own behalf in the neighbourhood of Duke's Court, St. Martin's Lane, where his abilities attracted considerable attention, and secured him the patronage of the dilettanti in the musical world. For several years he followed the path trodden by the makers of the period, and copied Stainer. His instruments of this date are very excellent both in workmanship and material, but are not equal to those of the Amati pattern, which he commenced to make about the year 1770. These are beautiful works, and have a great charm from their being so varied. Some are copies of Antonio and Girolamo Amati, variously modelled; others are copies of Niccolò Amati. The wood and varnish also vary very much, but the high standard of goodness is well maintained throughout. His varnish was, during the last twenty years of his life, very fine in quality, and in the manufacture of it he is said to have been assisted by a friend who was an excellent chemist. He made only four Double-Basses, three of which were executed for the private band of George III. Forster's instruments were the favourite equipment of Robert Lindley, and their value in his day was relatively far higher than at the present moment. When Lindley died attention was turned to Italian Violoncellos, and a vast number having been brought to England, the value of Forster's productions was very considerably depreciated; now, however, that the cultivation of stringed instrument music has been so much extended, they are rapidly rising again to their former level, Italian instruments being a luxury not obtainable by every one, and age having so benefited the tone of Forster's Violoncellos as to render them excellent substitutes.

FORSTER, William, London, born in 1764, died 1824. Son of William Forster, the second of the family. Although this maker did not attain to the celebrity of his father, his instruments are often fully as good. The workmanship is very neat, and the modelling excellent, the varnish being equal to that on his father's instruments.

William Forster, Junr., Violin,
Violoncello, Tenor & Bow Maker,
18— Also Music Seller No 43
to their Royal Highnesses the
Prince of Wales and the Duke of
Cumberland.

FORSTER, William, London, born in 1788, died 1824. Son of William Forster, mentioned above. He was a very good workman: he made but few instruments.

FORSTER, Simon Andrew, London, born in 1801, died about 1870. Brother of William, mentioned above. He learned his business from his father and Samuel Gilkes, who worked for William Forster. He made several instruments between the years 1828 and 1840, which are of average merit. Best known as joint author with W. Sandys of a "History of the Violin" (London, 1864).

FRANKLAND, ——, London, about 1785.

John Furber, Maker, 13, John's Row, top of Brick Lane, Old St., Saint Luke. 1813.

FURBER, ——, London. There were several makers of this family, some of whom worked for Betts, of the Royal Exchange. Many of their instruments are excellent, and should unquestionably be more valued than they are. John Furber made several Violins of the grand Amati pattern, and also copied with much ability the "Betts" Stradivari, when the instrument belonged to Messrs. Betts in the Royal Exchange, for whom he worked.

FURBER, Henry John, son of John Furber, London. He has made several excellent instruments, and maintained the character for good workmanship which has been associated with the name of Furber for upwards of a century.

GIBBS, James, 1800-45. Worked for Samuel Gilkes and others.

Gilkes. From Forster's, Violin and Violoncello Maker, 34, James Street, Buckingham Gate, Westminster.

GILKES, Samuel, London, born in 1787, died in 1827. Was born at Morton Pinkney, in Northamptonshire. He became an apprentice of Charles Harris, whose style he followed to some extent. Upon leaving Harris he engaged himself to William Forster, making many instruments for him, retaining, however, all the features of the style of Harris. In the year 1810 he left the workshop of Forster, and commenced business on his own account in James Street, Buckingham Gate, where the few instruments bearing his name were made. Too much cannot be said in praise of much of the work of this excellent maker. The exquisite finish of many of his instruments evidences that the making of them was to him a labour of love. Amati was his favourite model.

GILKES, William, London, born 1811, died 1875. Son of Samuel Gilkes. Has made a great number of instruments of various patterns, chiefly Double-Basses.

GOUGH, Walter. An indifferent workman.

HARBOUR, ——, London, about 1785.

HARDIE, Matthew, Edinburgh, date from about 1800. He was the best maker Scotland has had. The model is that of Amati; the work throughout excellent. The linings are mostly of cedar. He died about 1825-26.

HARDIE, Thomas, Edinburgh. Worked with his father, Matthew Hardie. He was born in 1804, died 1856.

HARE, John, London. About 1700. His label shows that he was in partnership, his name being joined to that of Freeman, and the address is given as "Near the Royal Exchange, Cornhill, London." Much resembles the work and style of Urquhart. Varnish of fine quality.

HARE, Joseph, London, probably a son of John Hare, above-mentioned. Varnish of excellent quality.

Joseph Hare, at y^e Viol and Flute,
near the Royal Exchange, in Cornhill, London.
172—

HARRIS, Charles, London, 1800. This maker is known only to a few dealers, as he made chiefly for the wholesale merchants of his day. His name was rarely affixed to his instruments, but those thoroughly acquainted with his work agree in giving him a foremost place among the makers of this country. He was, like many other makers of that period, engaged in two occupations differing very much from each other, being at the same time a Custom-house officer and a maker of Violins. The former circumstance brought him into contact with mercantile men, and enabled him to obtain commissions to make Violins for the export trade. His business in this direction so increased that he obtained the services of his relative, Samuel Gilkes, as his assistant. He never aimed at producing a counterpart of the instrument that he copied by resorting to the use of deleterious means to indicate upon the surface of an instrument the ravages of time. He faithfully copied the form, and thus did what Lupot was doing at the same period. The finish of these instruments is excellent, and as they are covered with a good quality of varnish, they have every recommendation of appearance.

HARRIS, Charles. Son of the above. Neat workmanship. Well-cut scroll. Sound-holes not well formed. Yellow varnish. Worked for a short time for John Hart.

GIUSEPPE GUARNERI DEL GESÙ. (THE "VIEUXTEMPS.")

ANTONIO STRADIVARI (INLAID). Date 1687. (FROM THE PLOWDEN COLLECTION.) Plate XVIII.

John Hart, Maker, 14, Princes Street, Leicester Square, London. Anno 18—

HART, John Thomas, born December 17, 1805, died January 1, 1874. He was articled to Samuel Gilkes in May, 1820, of whom he learned the mechanical branch of his profession. He afterwards centred his attention upon the peculiar characteristics of the Cremonese and Italian Violin-makers generally, and in a comparatively brief space of time obtained an extensive acquaintance in that direction. His unerring eye and powerful memory of instruments once brought under his notice secured for him the highest position among the connoisseurs of his time. Commencing business at a period when the desire to possess instruments by the famous Italian makers was becoming general among amateurs, and being peculiarly fortunate in securing an early reputation as a judge of them, he became the channel through which the greater part of the rare Italian works passed into England, and it has frequently been said that there are very few distinguished instruments in Europe with which he was unacquainted. Among the remarkable collections that he brought together may be mentioned that of the late Mr. James Goding, the remnant of which was dispersed by Messrs. Christie and Manson in 1857; the small but exquisite collection of Mr. Charles Plowden, consisting of four Violins of Stradivari and four of Guarneri, with other instruments of less merit, the whole of which again passed into Mr. Hart's possession upon the death of their owner; and, lastly, a large portion of the well-known collection of the late Mr. Joseph Gillot, sold by Christie and Manson shortly after the famous sale of pictures belonging to the same collector.

HAYNES, Jacob, London, 1746. Copied Stainer. The style resembles that of Barrett.

HEESOM, Edward, London, 1748. Copied Stainer.

HILL, Joseph, London, 1715-84. Pupil of Peter Wamsley. His Violoncellos and Tenors are well-made instruments.

Joseph Hill, Maker,
at the Harp and Flute,
in the Hay Market.
London.

HILL, William, London, 1741. Son of the above. Very good work.

William Hill, Maker, in Poland Street,
near Broad Street, 17—

HILL, Joseph, London, 1800-40. Son of the above.

HILL, Lockey, London, 1800-35. Brother of the above. Made many excellent instruments.

HILL, William Ebsworth, London, 1817-95. Son of Lockey Hill. Made several instruments in his younger days, but, like the rest of our English makers, he long since discovered that new work was unremunerative, and turned his attention to repairing and dealing in old instruments, and became the founder of the well-known firm of W. E. Hill and Sons, of Bond Street. He exhibited at the Exhibition of 1862 a Violin and Tenor, thus showing that Violin-making was not quite extinguished in England.

HOLLOWAY, J., London, 1794.

HUME, Richard, Edinburgh, 16th century. A maker of Lutes, &c.

JAY, Henry, London, 17th century. Maker of Viols, which are capital specimens of the work of the period. The varnish is excellent.

JAY, Thomas, London. Related to the above. Excellent work.

Made by Henry Jay, in Long Acre, London. 1746.

JAY, Henry, London, about 1744-77. A maker of Kits chiefly. At this period these juvenile Violins were in much demand by dancing-masters. A few years ago a very choice collection of these instruments was made by an Irish gentleman residing at Paris, who obtained specimens from all parts of Europe. Henry Jay also made Violoncellos, some of which have the names of Longman and Broderip on the back.

Made and sold by John Johnson, at the Harp and Crown, in Cheapside, 17 London. 53

JOHNSON, John, London, 1750. The Violins bearing his label are dated from Cheapside. Johnson was a music and musical instrument seller. In "The Professional Life of Dibdin," written by himself, we have the following reference to this City music-seller: "My brother introduced me to old Johnson, who at that time kept a capital music-shop in Cheapside.¹ I soon, however, grew tired of an attendance on him. He set me down to tune Harpsichords, a mere mechanical employment, not at all to my taste." "I saw plainly that I might have screwed up Harpsichords in old Johnson's shop to all eternity, without advancing my fortune; and as to the songs and sonatas that I brought him for sale, they had not been performed at the theatres nor Vauxhall, nor any other place, and Johnson would not print them." "The Thompsons, however, of St. Paul's Churchyard, published six ballads for me, which sold at three-halfpence a-piece, and for the copyright of which they generously gave me three guineas." Though we may not feel disposed to apply the term "generous" to a payment of half-a-guinea for a Dibdin ballad, yet in all probability we are indebted to the Thompsons for this particular recognition of merit. Happily true genius, when in straits, generally finds relief. Were it otherwise, and had the Thompsons been as deaf to Dibdin as John Johnson appears to have been, "Tom Bowling," "Poor Jack," and many other compositions of sterling merit, might never have been written.²

1 Dibdin's brother was captain of a merchant vessel, and was intimate with Johnson the music-seller. On the death of Captain Dibdin his brother composed "Tom Bowling," the music and words of which bespeak the fraternal love of the composer.

2 Dibdin was evidently discouraged in consequence of Johnson's refusal to publish his songs: he says, "After I had broken off with Johnson, I had some idea of turning my thoughts to merchants' accounts—the very last thing upon earth for which I was calculated."

KENNEDY, Alexander, London, 1700-86. Was a native of Scotland. He was the first maker of Violins in his family, which was connected with the manufacture for nearly two centuries.

Alexander Kennedy, Musical Instrument
Maker, living in Market Street, in Oxford
Road, London, 17—

KENNEDY, John, London, born 1730; died 1816. Nephew of Alexander Kennedy. Made Violins and Tenors.

KENNEDY, Thomas, London, born 1784; died about 1870. Son of the above. Probably made more instruments than any English maker, with the exception of Crask.

LENTZ, Johann Nicolaus, London, 1803. He used mostly one kind of wood, viz., close-grained maple. Varnish nearly opaque.

Johann Nicolaus Lentz, fecit
near the Church, Chelsea. 1803.

LEWIS, Edward, London, 1700. The work is well executed throughout, and the varnish superior.

LISTER, George, 18th century.

LONGMAN AND BRODERIP, Cheapside, London, about 1760. They were music-publishers and instrument-sellers, and were not Violin-makers. Benjamin Banks, Jay, and others, made many of the instruments upon which the name of Longman is stamped. Muzio Clementi was at one time a partner in the firm. The business ultimately passed to Collard and Collard.

LOTT, John Frederick, 1775-1853. Was a German by birth. He was engaged in the cabinet business early in life. He was induced by Fendt to turn his attention to making Violins, and ultimately obtained employment under Thomas Dodd, making many of the Violoncellos and Double-Basses that carry the label of Dodd within them. His work was of a most finished description. His Double-Basses are splendid instruments, and will bear comparison with Italian work. His varnish was far from equal to his finish. The time he spent in making these instruments was double that which any other English maker expended over similar work. There is not a single portion of any of his Double-Basses that has been carelessly made; the interior is as beautifully finished as the exterior. The machines on many of his Basses were made by himself—a very unusual circumstance. The scrolls are finely cut. He was certainly the king of the English Double-Bass makers.

LOTT, George Frederick, London, born 1800; died 1868. Son of the above. Many years with Davis, of Coventry Street. Was an excellent judge of Italian instruments, and a clever imitator.

LOTT, John Frederick, London, younger brother of the above, died about 1871. Was articled to Davis. Has made many clever imitations. He was also an ardent lover of Cremonese instruments, and thoroughly understood their characteristics. His career was both chequered and curious, sufficiently so, indeed, to cause our eminent novelist, Charles Reade, to make it the subject of "Jack of all Trades: a Matter-of-Fact Romance." Jack Lott (as he was familiarly styled) therefore shares with Jacob Stainer the honour of having supplied subject-matter for writers of fiction. It must, however, be said that whilst Dr. Schuler's "Jacob Stainer" is mainly pure fiction, "Jack of all Trades" is rightly entitled "a matter-of-fact romance." I have many times heard John Lott relate the chief incidents so graphically described by Charles Reade.

MACINTOSH, Dublin. Succeeded Perry and Wilkinson. Died about 1840.

MARSHALL, John, London, 1750.

MARTIN, ——, London, about 1790.

MAYSON, Walter H., Manchester, 1835-1904. A prolific maker. His later work is highly spoken of.

MEARES, Richard, about 1677. Maker of Viols.

Richard Meares, without Bishopsgate,
near to Sir Paul Pinder's, London. Fecit 1677.

MIER, ——, London, about 1786.

MORRISON, John, London, about 1780-1803.

NAYLOR, Isaac, Headingly, near Leeds, about 1778-92.

NICHOLS, Edward, 18th century.

Edwardus Nichols,
Fecit ad exemplar Antoni Straduarii Cremonensis, 1763.

NORBORN, John, London, about 1723.

Barak Norman and Nathaniel Cross, at the Bass Viol in St. Paul's Church Yard, London. Fecit 172—

NORMAN, Barak, London, 1688-1740. The instruments of this maker are among the best of the Old English school. His instructor in the art of Viol and Violin-making is unknown, but judging from the character of his work it is very probable he learned from Thomas Urquhart. This opinion is strengthened upon examining his earliest instruments. We there find the same peculiarities which mark the individuality of Urquhart. Later in life he leaned much to the model of Maggini.

During his early years he was much esteemed as a maker of Viols, many of which have all the marks of careful work upon them. On all of these instruments will be found his name, surrounded with a design in purfling, under the finger-board, or his monogram executed in purfling. The same trade token will be found in his Violoncellos. All endeavours to discover any existing English Violoncello, or record of one, anterior to Barak Norman, have failed, and, consequently, it may be assumed that he was the first maker of that instrument in England. Here, again, is evidence of his partiality for the form of Maggini, as he copied this maker in nearly all his Violoncellos. All the Violoncellos of Barak Norman have bellies of good quality; the modelling is executed skilfully, due care having been observed in leaving sufficient wood. His Tenors are fine instruments. Many of these were made years before he began the Violoncellos—a fact which satisfactorily accounts for the marked difference in form peculiar to them. The build is higher, and the sound-hole German in character; the varnish is very dark. About the year 1715 Barak Norman entered into partnership with Nathaniel Cross, carrying on the joint business at the sign of the Bass Viol, St. Paul's Churchyard. In a Viol da Gamba which belonged to Walter Brooksbank, Esq., of Windermere, is a label in the handwriting of Nathaniel Cross, in which he adds the power of speech to the qualities of the quaint Gamba; the words are, "Nathaniel Cross wrought my back and belly," the sides and scroll being the work of his partner.

NORRIS, John, London, born 1739; died 1818. Articled to Thomas Smith, the successor of Peter Wamsley. Similar work to that of Thomas Smith. He became a partner of Robert Barnes.

Made by Norris and Barnes,
Violin, Violoncello, and Bow
Makers, To their Majesties,
Coventry Street, London.

Edward Pamphilon, April the 3rd, 1685.

PAMPHILON, Edward, London, 17th century. The Violins of this maker were formerly much prized. The model is very high, and the appearance somewhat grotesque. It is to be regretted that the splendid varnish often found on these instruments was not put upon better work.

PANORMO, Vincent. (See [Italian School].)

PANORMO, Joseph, London. Son of Vincent Panormo. His work was excellent. His Violoncellos are decidedly superior to his Violins.

PANORMO, George Lewis, London. Brother of the above. Made Violins of the Stradivari pattern.

PANORMO, Louis, London. Made Guitars chiefly.

PARKER, Daniel, London, 18th century. This is another maker of the English school, who was possessed of exceptional talent, and whose instruments are well worthy of attention from those in search of good Violins at a moderate cost. To Parker belongs, in conjunction with Benjamin Banks, the merit of breaking through the prejudice so long in favour of preference for the Stainer model.

The dates of his instruments extend from the year 1740 to 1785. He left his Violins thick in wood, which has certainly enhanced their value now that time has ripened them. He used excellent material, which is often very handsome. The varnish is of a mellow quality, and fairly transparent. A large number of these Violins have been passing under other makers' names, and have been but little noticed.

PEARCE, James, London, 18th century.

PEARCE, W., London, contemporary.

PEMBERTON, Edward, London, 1660. This maker has been often mentioned as the author of a Violin said to have been presented to the Earl of Leicester by Queen Elizabeth, and to suit this legend Pemberton's era has been put back a century. The date given above will be found in the Violins of this maker.

PERRY AND WILKINSON, Dublin, 17— to 1830. The instruments bearing the labels of these makers are frequently excellent in tone, material, and finish.

POWELL, Thomas, London, 18th century.

Made by Thomas
Powell, No. 18, Clemens
Lane, Clare Market.
1793.

PRESTON, London, about 1724. Appears to have used his trade label in the instruments he sold, made by makers he employed.

PRESTON, John, York, 18th century.

John Preston, York,
1791. Fecit.

RAWLINS, Henry, London, about 1781. He appears to have been patronised by Giardini, the Violinist, according to the label here given. Giardini held the post of leader at the Italian Opera at this period.

Restauratus Henricus Rawlins
Auspicio Giardini
Londini 1781.

Jacob Rayman dwelling in Blackman Street, Long—Southwark. 1641. Jacob Rayman, at ye Bell Yard in Southwark, London, 1648.

RAYMAN, Jacob, London, 17th century. The subject of this notice was probably a German, from the Tyrol, who settled in England about 1620, and may be considered as the founder of Violin-making in this country, there being no trace of any British Violin-maker previous to that time. His work is quite different from that of the old English Viol-makers. The instruments of Rayman are of a somewhat rough exterior, but full of character. The form is flat, considering the general style of the work. The sound-holes are striking, although not graceful in any way. The scroll is diminutive, but well cut. The varnish is very fine. In the catalogue of the effects of Tom Britton, mention is made of "an extraordinary Rayman."

RICHARDS, Edwin, London, contemporary. Maker and repairer.

ROOK, Joseph, Carlisle, about 1800.

ROSSE (or Ross), John, Bridewell, London, about 1562. Made Viols and Bandoras.

ROSS, John, London, about 1596. Son of the above. Maker of Viols. The varnish is excellent in quality.

SHAW, London, 1655. Viol maker.

SIMPSON, London, 1785.

John Simpson,
Musical Instrument Maker,
At the Bass Viol and Flute,
In Sweeting's Alley,
Opposite the East door of the Royal Exchange,
London.

SMITH, Henry, London, 1629. Maker of Viols.

SMITH, Thomas, London. Pupil of Peter Wamsley, and his successor at the Harp and Hautboy.

Made by Thos. Smith, at the Harp and
Hautboy, in Pickadilly, London. 1756.

SMITH, William, London, about 1770.

TARR, William, Manchester. Made many Double-Basses from about 1829.

TAYLOR, London, about 1800. A maker of much merit. Instruments of the character of Panormo.

THOMPSON, London, 1749.

THOROWGOOD, Henry, London. Little known.

TILLEY, Thomas, London, about 1774.

TOBIN, Richard, London, 1800. Pupil of Perry, of Dublin. His instruments are much appreciated by the best judges. In cutting a scroll he was unequalled amongst English makers.

TOBIN, London. Son of the above.

URQUHART, London, 17th century. Nothing is known concerning the history of this excellent maker. The style may be considered as resembling that of Jacob Rayman, and it is possible he worked with him. His varnish is equal to that on many Italian instruments.

VALENTINE, William, London, died about 1877. Made many Double-Basses for Mr. Hart, which are highly valued.

WAMSLEY, Peter, London, 18th century. One of the best English makers. His copies of Stainer are very superior.

Made by Peter Wamsley,
At ye Golden Harp, in Piccadilly,
London. 17—

WISE, Christopher, London, about 1650. Yellow varnish, neat workmanship, flat model, small pattern.

WITHERS, Edward, Coventry Street. Succeeded William Davis.

WITHERS, Edward. Son of the above. Wardour Street, Soho. Was instructed by John Lott.

YOUNG, London, about 1728. Lived in St. Paul's Churchyard. Purcell has immortalised father and son in the first volume of his Catches.

"You scrapers who want a good Fiddle well strung, You must go to the man that is old while he's Young; But if this same Fiddle you fain would play bold, You must go to his son, who'll be Young when he's old. There's old Young and young Young, both men of renown, Old sells, and young plays, the best Fiddles in town; Young and old live together, and may they live long, Young, to play an old Fiddle; old, to sell a new song."