HAMMA & CO.—Stuttgart; contemporary. A well-known firm of dealers and repairers.
HAMMIG.—A family originating in Markneukirchen, and dating back to about the middle of the eighteenth century. There have been several of the name working and dealing in instruments in various parts of Germany besides Markneukirchen (Leipzig, Dresden, Berlin), and the Berlin house, still carried on, is well known on the Continent. HARBOUR, Jacob.—London; about 1760-90.
HARDIE.—Edinburgh; eighteenth and nineteenth centuries. Perhaps the best known family amongst the Scottish makers. The most celebrated member was Matthew, born Edinburgh in 1755, died 1826. His best work is very well finished. He copied the patterns of various Italian makers, but chiefly Stradivari and Amati. The tone of many of his violins is excellent. His varnish, according to examples seen by the writer, was not of the best. There were two James Hardies, of whom the second, born 1836, was the founder of the present Edinburgh firm of James Hardie and Son. He has produced an enormous number of instruments, many of which are somewhat on the lines of Maggini. Other makers of the name were Peter, who died at Dunkeld in 1863, and branded his work with his name; and Thomas, a son of Matthew, who could turn out good work when he chose; he died in 1856.
HARE, John.—London; eighteenth century, first half. Unquestionably one of the best of the old English makers. He shares with a contemporary (Daniel Parker) the merit of having been the earliest of the English school to turn serious attention to the pattern of Stradivari. His instruments are of large proportions, flat arching, and good finish, the heads being the weakest feature of the design. He used an excellent red varnish of considerable brilliance, and it is to be regretted that his work is so scarce. The tone also is exceptionally good and resonant in a well-preserved example. Opinions seem still to be divided as to whether Joseph Hare, mentioned in most books on the violin, was or was not identical with John. The latter was for some time associated in business with an individual named Freeman, of whom nothing else seems to be known. He worked near the Royal Exchange.
HARMAND, L.—Mirecourt; eighteenth century. Medium sized fiddles, with reddish varnish. Stamped “Au Roi David. L. Harmand.”
HARRIS, Charles.—Oxford, London. Worked until about 1800. His work is rarely labelled, and is little known, except to a few of the dealers. An excellent maker, whose fiddles and basses (particularly the latter) are deservedly in high repute. The pattern is generally that of Stradivari; Amati copies do not so frequently occur. Harris is noted amongst other things for his varnish of a warm red tint. A son of the same name worked in Oxford and London, and was for a time employed by John Hart.
HART.—A name familiar to violinists the world over. The firm of Hart and Son was established in Lower Wardour Street (formerly Princes Street, Leicester Square) by John Thomas Hart, who died in 1874. He was apprenticed to Samuel Gilkes, but made few instruments. John Hart and Georges Chanot I., of Paris, were in their day the most renowned judges of fiddles in Europe, and the former was instrumental in forming some of the most notable collections of violins that have ever been brought together. George Hart I., his son, who died in 1891, was also a judge of the highest eminence, but will always be remembered as the author of “The Violin, its Famous Makers and their Imitators,” which is recognised as the standard English work of reference. It passed through various editions in the author’s lifetime, and a further edition, with certain additions and emendations by his son and the present writer, was issued in 1909. George Hart II., son of the former, is the present head of the firm, and is a judge of wide experience of violins and violoncellos of the highest class.
HASSERT, Johannes George Christian.—Eisenach and Rudolstadt; eighteenth century. Instruments rarely seen in this country, but according to continental writers they are of good form, Italian style, and moderate arching. He worked until about 1775. A son, Johann Christian, worked at Rudolstadt, and died there in 1823.
HAUDEK, Carl.—Vienna; contemporary. Succeeded to business of Lemböck. He has obtained medals, but appears to have made few instruments; well known as a restorer.
HÄUSSLER, Gustave.—Cracow; contemporary. A maker who has obtained medals for his instruments in Cracow and Lemberg. Stradivari pattern.