FORSTER, WILLIAM, son of “Old” Forster. Born 1764, died 1824. He was a violin maker and repairer of some merit, but never attained the reputation of his father. He left his instruments unpurfled.
KENNEDY, ALEXANDER, came from Scotland about 1700 and established himself in London, He was a painstaking workman, and gained a good reputation. He followed the Stainer model and used a light amber varnish.
KENNEDY, JOHN, nephew and pupil of the foregoing, followed the same model, and produced some good violins and tenors.
KENNEDY, THOMAS, the best known of the family. He made a large number of violins and ’cellos.
NORMAN, BARAK (1688-1740). He was chiefly a maker of viols, but has made violas and violoncellos, and a few violins on the Stainer model; his best productions being copies of Maggini. He was probably a pupil of Urquhart, if one may judge from their respective works. As a maker of viols he was much esteemed in his day; all his instruments of this class indicate careful workmanship. As no British violoncello has been discovered anterior to those manufactured by Norman, it is thought that he may have been the first maker of that instrument in this country. They are splendid instruments and much valued. His violas also are fine specimens, and consequently highly prized by performers on that instrument. Between the years 1715 and 1720 Barak Norman entered into partnership with one Nathaniel Cross, at the sign of the “Bass Viol,” St. Paul’s Churchyard. Barak resorted to various methods in order to distinguish his instruments, sometimes his monogram is purfled in the centre of the back, and occasionally, in the case of violoncellos, on the top table under the wide part of the finger-board. When he became associated with Cross, the joint monogram was used. The following is a copy of a printed label used by the firm:
“Barak Norman and Nathaniel Cross, at the Bass Viol in St. Paul’s Churchyard, London, fecit 172—.”
WAMSLEY, PETER, London (1727-1760). He was at one time considered a clever maker of violas and violoncellos, but having resorted to the unfortunate practice of thinning the wood in his endeavour to secure a freer tone, his instruments at the present day lack power and sonority. They are, however, capable of great improvement in the hands of a skilful repairer. He adopted the Stainer model, and at times proved himself to be a first-class workman. Most of his instruments have only ink lines instead of purfling. Wamsley made a few double basses, but they are now very scarce. The best instruments of this maker are those covered with a dark brown varnish. For a great number of years Wamsley carried on business in Piccadilly, and used labels, copies of which are as follows:
Made by Peter Wamsley at the Harp and Hautboy in Pickadilly, 1735.
Peter Wamsley Maker at the Harp and Hautboy in Piccadilly, 17 London 51.
