EADIE, JOHN
Resident at Glasgow, 1870-1895. Rather ordinary, but not deficient in artistry; quite a fresh tone.
EBBEN, W.
Watch-maker. Resident in Islington, London, 1835-1842. Modest modelling, somewhat Tyrolean; erratic workmanship particularly in the carving of scroll. Sound-holes lack grace, weak tone, pale yellow varnish, everything definitely amateurish.
-------------------------
Made by W. Ebben
in Islington, 1839
-------------------------
EBERL, BENEDIKT
Worked in Budapest, 1820-1827. Perfect replicas of Maggini. Outline curvatures, and arching finely represented. Surpassingly clever scroll, quite as natural looking as the prototype. Sound-holes admirable. Double purfling, accurately done, shade of varnish masterly imitated and applied generously. Tonal quality of viola-like depth, unusual brilliancy particularly as emanating from this long model. Inserted Maggini labels to which he added: Benedikt Eberl, Pesth, and the year of production.
EBERL, CHRISTOPH
Labelled his instruments as though made in Prague, 1765-1784. Worked in Schnbach (Bohemia). Modelling and workmanship mediocre, barring an occasional specimen of more careful manipulation. Poor quality varnish, too plenti fully applied.
----------------------------------------
Christoph Eberl, Violin und Laut
enmacher in Prag. An. 1770
----------------------------------------
EBERL, JOHANN
Worked in Schnbach, 1880-1910.
EBERL, RUDOLF
Established at Schnbach, 1885-1925. Good-class commercial instruments.
EBERLE, EUGENE
Born 1885. Worked in Rotterdam, 1904-1925. Pupil of Tomasowsky, Van der Meer, and Mckel. Gold medallist at Rotterdam and Milan Exhibitions for two quartets of instruments. Violins and cellos noted for truly excellent tonal qualities, quite removed from newness. Modelling and workmanship gracefully artistic. Golden yellow varnish.
----------------------------------
Eugne Eberle
Vioolmaker
Fecit Rotterdam-Anno 19-
----------------------------------
Succeeded in 1947 by son (same Christian name), born 1915. Pupil of Mckel.
EBERLE, JOHANN ULRICH
Born in Vils (Tyrol), 1699. Pupil of Edlinger at Prague. Established own workshop in that city, 1727. Died 1768. Best violins have received much attention for the different displays of individualism in the clever modelling of Stainer and Cremona patterns, in which there is a happy medium by reducing the height of the former with lessening the breadth of the latter. A few of his early dated instrments are more after the broad Stradivarian pattern, with medium arching, but later he practically established the settled style mentioned above and from which his violins are easily recognised. This style appears to have been comparatively secure from imitation, and, in its particular way, very finely conceived. Nothing unnatural or forced about the scroll. Selection of wood always fortunate, having no superior in this matter. Frequently birds-eye maple. Splendid purfiing. Very attractive varnish of a reddish shade on a yellow ground. Quite lustrous even where worn. Other details well attended to, particularly the lower part of the neck, and at the sides of peg-box near the fingerboard nut. Tone never powerful, but of peculiar warmth. Also produced viols, violas, and cellos. Some instruments occasionally mistaken for genuine Italian until the tone has been tested.
-----------------------------
Joannes Ulricus Eberle
fecit Pragae. 1762
-----------------------------
(decorative border)
----------------------------
Joan Udalricus Eberle.
fecit Pragae. 1747
----------------------------
---------------------
Udalricus Eberle
Prag. 1745
---------------------
--------------------------------------------
Joannes Udalricus Eberle
Lauten und Geigenmacher in Prag.
Ao. 1752
--------------------------------------------
--------------------------------
Me reparavit. J. U. Eberle
Pragae 1748
--------------------------------
Sometimes name is given as Eberll, and Ebberll.
EBERLE, MAGNUS
Born in Vils (Lower Austria), 1803-1835. Worked in Wiener-Neustadt except for a few years at Raab (Hungary). Style reminiscent of the Viennese School. Instruments rather inconsequential though not quite of ill-ordered construction. Dark shade of red varnish, no elasticity or transparency. Cellos perhaps merit more moderate criticism although tonal quality is never particularly stimulating.
--------------------------
Magnus Eberle fecit
W- Neostadi 1835
--------------------------
-------------------------
Magnus Eberle fecit
Raabae 1820.
-------------------------
EBERLE, TOMASO
Worked in Naples, 1753-1792. Recorded that he worked and studied with Nicola Gagliano. Whether this is correct or otherwise is of little consequence. It is known that his violins are very much like the Gagliano in outline and arching, and that in consequence, they have frequently been subjected to the unscrupulous exploits of dealers by inserting easily obtained, and reprinted labels of Gagliano. Sound-holes more near to Amatese. Scrolls often more neatly cut and prettier than those of Gagliano, moreover, quite distinctive. It is only necessary to look cursorily at the workmanship to be convinced that the tone will be rather splendid. Wood invariably prettily marked. Backs frequently of two pieces cut on the slab, also occasionally of sugar maple rather resembling oak. Reddish brown and yellowish brown shades of varnish, thoroughly applied all over,and rather brilliant, of a texture that will last for centuries. Tone may not be one of that unique type of undeviating evenness, but rather of exquisite quality, though not powerful we get something as far-reaching in clearness and sonority.
Narrow patterned and bulgy-arched violins bearing Eberles labels occasionally come on to the market, probably Tyrolean products.
-----------------------
Thomas Eberle
fecit Neap. 1775.
-----------------------
(written and printed)
--------------------------
Tomaso Eberle fecit
Nap. 1774
--------------------------
----------------------
Thomas Heberl
Fecit Neap. 1780
----------------------
Third label seems German, and may be in violins emanating from Tyrolese workshops. The words Gesu e Maria sometimes inscribed or printed on a small label across the upper corner blocks. 300, 1959.
EBERLE, WENZEL MICHAEL
Born 1738. Son of J.U. Worked in Prague. Died 1772.
Good Bohemian modelling, warm and resplendent yellow varnish. Some instruments confused with those of father.
EBERSPACHER, B.
Tyrolian. Worked in Florence, 1660. Fine Theorbos beautifully ornamented.
-------------------------------
Bartolomeo Eberspacher
in Fioreuza
-------------------------------
EBNER, ALBERT BENNO
Pupil and successor of Andreas. Worked in Munich, 1919-1939. Similar design to that of father.
EBNER, ANDREAS
Born 1852. Died 1919. Workcd in Munich. Created an original model commensurate with intellectuality which largely contains the influence of the Stradivarian.
EBNER, GOTTHARD (1)
Worked in Hallein (near Salzburg), 1723. Violins modelled after Stainer, occasionally nearer to the Amatese. Outlines, arching, and sound-holes splendidly imitated. Scroll however perversely clashes. Purfling very uncertain, sometimes entirely absent. Fiery, thick varnish completely Tyrolean in shade. Tone quality indolent on lower strings, rather unpleasantly blatant on the higher.
EBNER, GOTTHARD (2)
Worked in Regensburg, 1724. Died 1760. Attained local reputation as good musician. Outline definitely Stainerish, nicely curved. Corners well turned. Arching generally quite high, but not unnaturally abrupt near the margins, but there are a few specimens of medium height. Scroll and sound-holes more reminiscent of the Amatese. Drawn lines in place of usual purfling. Often one-piece tables as well as backs. Golden brown, and dark brown shades not especially rich though ordinarily transparent. Tonal quality not especially clear.
-------------------------------------------
Gotthard Ebner Lauten und Geigen
macher music: fecit Ratisbonae
1724
-------------------------------------------
Ratisbon was the former name for Regensburg.
EBNER, OTTO D.
Born 1883. Worked in Markneukirchen. Succeeded to Piegendorfers establishment at Augsburg (Bavaria), 1903. Stradivarian modelling. Oil varnish which immediately arrests the eye.
---------------------------
Otto Ebner
Gg. Piegendorfer
fecit Augsburg. 1914
---------------------------
(bearing the Augsburg emblem, also the letters O.E. and G.P.)
ECCHIO, GIOVANNI
Probably a Dutchman named Van Eeke or Van Eycke. Worked in Augsburg. Rome, 1610, and finally at Antwerp. Supposedly identical with Giovanni Hec. Lutes possessing all the attributes delightful to the connoisseur.
ECHINGER
Worked in Wurzburg (Bavaria), 1810-1845. Ordinary workmanship, Klotz modelling. Brown varnish, sluggish tone.
ECHINGER, CARL
Worked in Munich, 1855-1890. Violins without distinction, certainly no opulent tonal quality. Greater reputation for guitars.
ECKART, C. J.
Resident in Rock Island (Illinois), 1925. Advocate of varnish prepared by G. J. Thomas of Oakland (California).
ECKART, H.
Born 1811. Musician and repairer to the Court at Mannheim. Died 1872.
--------------------------------------
Reparavit von Heinrich Eckart
in Mannheim
--------------------------------------
ECKERT, WILHELM
Repairer and dealer in Heidelberg, 1928.
ECKLID (EKLID), A. O.
Worked in Drontheim (Norway), 1880-1890. Specialised in Hardanger fiddles, and received Exhibition medals for his work. Also produced ordinary violins which were not of the highest form. Received a bronze medal at London Exhibition, 1886.
EDEL, GUSTAV
Resident in Saulgau (Wrtemberg), 1925. An enthusiastic amateur and excellent violinist in Chamber music. Applied himself, day and night, to obtaining knowledge from books on violin structure, practised cutting and shaping, passed through the several stages of being involved in, and harassed with, difficulties. Ultimately, having acquired some skill, he felt warranted to venture on building violins, and set about his task with a feeling of incompetency. Produced several Stradivarian specimens worthy of the highest regard. No deficiencies whatever in workmanship. Decisive in his manner of cutting the scroll. Sound-holes and purfling accomplished without hesitancy. Made himself perfectly acquainted with the intricacies of varnishing, the material formulated by himself, this being rendered easier by the fact that he was an Alchemist of some consequence in his former years. Published a showy brochure with pictures of himself and his instruments.
EDER AND GAGUIN
Established at Rouen, 1830. Some ordinary violins known bearing their label, but seem to have been made at Mirecourt.
EDER, HANNES
Resident at Hallein (near Salzburg). Rather faithful Stainer modelling and varnish.
------------------------------
Hannes Eder Geigen
machen in Hallein 1667
------------------------------
EDIN, GUSTAF EDVIN
Born 1884. Resident in Arvidsjaur (Sweden). Won silver medals at Lulea (1921), and Sundsvall (1928). Strad modelling, neat workmanship, especially well-carved and well-poised scroll, pleasing reddish brown varnish. Written label.
EDLAVITCH, CHARLES JOSEPH
Born in Jonava (Lithuania), 1874. Worked and studied with Yosa Tefira in same town. First instrument dated 1890.
Produced 300 violins, 12 violas, and 20 cellos up to year 1927. Established at Baltimore, U.S.A., since 1900. Stradivarian modelling up to about 1925, then adopted a model of his own. Workmanship altogether excellent. Golden yellow, reddish yellow, and yellow brown shades of varnish, applied flawlessly. Well seasoned wood, plenty of it. Fine tonal quality.
-----------------------
Chas. J. Edlavitch
Baltimore
-----------------------
(printed and written)
EDLER, FRIEDRICH CHRISTIAN (1)
Born 1820. Died 1871. Founder of an important establishment at Frankfort-on-Main, 1850. Gold medals gained at Exhibitions for first-class productivity of stringed instruments.
EDLER, F. C. (2)
Born 1851. Died 1895. Son of ihe preceding, and member of the firm.
EDLER, F. C. (3)
Born 1876. Son and pupil of the preceding. Won National medal at Leipzig for magnificent productions, 1909. Appointed maker to the Grand Ducal Court of Saxony, and to the Landgrave of Hessen. Had a splendid reputation as a connoisseur of old instruments. Inventor of original bass bar, also improvements relating to the sound-post.
EDLER, F. C. (4)
Son of the preceding. Born 1908. Studied the art in Markneukirchen. Member of the firm, 1925.
EDLER, HANS
Born 1889. Worked for Fiorini in Munich and subsequently opened own premises in that city, working there in 1938. Instruments mostly built on what he terms his own principles of design which, however very nearly correspond with the Stradivarian. Also produced other well-known models slightly modified. Beauty developed and distributed from top to bottom. Sound-holes splendidly and uniquely harmonise with the lower waist-curves of outline. Varnish no less fine in quality and application.
-------------------
Hans Edler
Geigenmacher
Mnchen 19. .
-------------------
Renowned for especial cleverness in bettering the tone of supposedly worn-out or tired old instruments.
EDLER, RICHARD
Born 1904. Pupil of Winterling. Worked in Frankfort, 1947. Instruments consistently praised by German orchestral players.
EDLINGER, HANS GEORG
Son of Thomas (1). Born in Augsburg, 1666. Died there 1696. Experience in fathers workshop taught him wisdom and he became a good copyist of his parents style. Lutes and violins very scarce.
EDLINGER, JOHANN GEORG
Third son of Thomas (1).
----------------------------------
Johann Georg Edlinger
Lauten und Geigenmacher
in Augsburg. Anno 1692
----------------------------------
EDLINGER, JOSEPH JOACHIM
Born in Prague, 1692. Son and pupil of Thomas (2). For several years he lived in Italy, and perfected his talent in the workshops of Cremona, Rome, Bologna, Ferrara and Venice. Flat model evinces his complete acquaintance with the chief structural features of the Cremonese. Workmanship neat and accurate. Varnish on many violins now almost wholly destroyed. Also produced many fine lutes. Returned to Prague 1728. Died 1748.
----------------------------------
Josephus Joachim Edlinger
me fecit Prague
Anno 1732
----------------------------------
----------------------------
Josephus Edlinger
me fecit Pragae, 1733
----------------------------
EDLINGER, THOMAS (1)
Born in Grosskirchheim, Carinthia (Austria). Worked in Augsburg from 1656-1690. Principally made lutes and viols. Only a very few violins known. High arching of the Stainer type, sometimes having a groove near the edge. Not an attractive model, often flattened across middle bouts. Large sound-holes done with fine exactitude. Excellent acoustical wood. Dark brown varnish of rather good quality. Tone fairly powerful but lacking clarity. Workmanship thoroughly well done. Very popular, as well as an accomplished maker of the older instruments, and for these his hands were generally very busily occupied with the many commissions he received from the nobility of his country.
---------------------------------
Thomas Edlinger
Lauten und Geigenmacher
in Augfpurg, 1667
---------------------------------
(ordinary lettering although sometimes thick German lettering)
EDLINGER, THOMAS (2)
Born in Augsburg, 1662. Son and pupil of the preceding. Settled at Prague and became one of the most estimable and wealthy of its citizens. Had the Freedom of the City conferred upon him in 1692. Died there 1729. Supposed to have had lessons from Stainer, but this has been contradicted by some experts. Without following servilely in the train of Stainer model, he retained much that has given some people reasonable grounds for supposing he had been trained by that maker. Manipulative skill altogether splendid. Whole design extremely elegant and ingenious modelling. Scroll and sound-holes admirably accurate in every little detail. Varnish a fine yellow shade with slight reddish tinge, judiciously applied, and nicely contrasted. If the tone is not invested with the perfection necessary to a solo instrument, it is at least good enough for the lesser brilliance of quartet playing. In the last years of his career he changed the model to one of something akin to the Stradivarius. These instruments have since received more patronage from violinists than his former ones, and were (in 1925) usually catalogued at 50. The Stainer type 25.
-------------------------------
Thomas Edlinger
fecit Pragae. Anno 1729
-------------------------------
-------------------------------------------------
Thomas Edlinger
Lauten und geigenmacher in Prag. 1719
-------------------------------------------------
-------------------------------------------------------
Thomas Edlinger
Lauten und Geigenmacher in Augspurg 1691
-------------------------------------------------------
(German lettering)
------------------------------------------
Thomas Edlinger zugericht, 1715.
Zugericht - corrected; repaired.
------------------------------------------
EDSON, NATHAN
Worked at Boston (U.S.A.), 1908.
EDSTROM, FILIP
Resident in Stockholm, 1925. Amateur.
EGERLAND, JOHANN CHRISTIAN
Worked in Klingenthal, 1748. Modelling moderately accurate in proportions. Workmanship manifests a tendency towards an even lesser degree than the ordinary. Brownish yellow varnish rather estranged from the transparent.
EGLINGTON
Worked in London, 1799-1820. Only a few specimens known. Workmanship generally rather clumsy, particularly weak about the scroll. Tone fairly satisfactory.
---------------------------------
Eglington fecit
Drury Lane, London 1805
---------------------------------
EHRESMAN, J.
Worked in Metz, 1804.
EHRICKE, CHARLES
Worked in Troy (U.S.A.), 1926.
EHRLICH, C. F.
Worked in Bamberg (Bavaria), 1822. Guitars, lutes, and a few violins of Klotz model.
-------------------------------------
C. F. Ehrlich. Bamberg, 1822
-------------------------------------
Also branded Ehrlich.
EHRLICH, G. J.
Resident in New York City, 1924. Advocate of the Horvath formula.
EHRLICH, WILLIAM
Born 1820. Died 1887. Worked in Dresden. General outline and arching somewhat reminiscent of the early Stradivarian. Sound-holes faintly resembling the Guarnian, though in artistry, not entirely successful, the upper curve being typical of the original, but the lower has too pronounced a sweep to be truly consonant. Neatly cut scroll pervaded by German traits rather than Italian and a shade too robust to harmonise with the rest of the instrument. Yellow brown spirit varnish of good quality. Tone of average power and brilliance. 20 (1920), 75 (1959).
-------------------
W. Ehrlich
Dresden. 1858
-------------------
EHRLING, AXEL VILHELM
Born 1872. Worked in Kisa (Sweden). Principally organs, but tried his hand on a few violins and achieved highly satisfactory results. Strad modelling, orange shade of varnish.
EHRMANN, WILLIAM C.
Born in Wrtemberg (Germany), 1860. Worked in several important ateliers in native country. Migrated to U.S.A. and studied violin structure with Andersen at Denver; lived in Albany (New York), 1906-1924. Inventor of vertical rib-system for increasing the volume and enhancing purity of tone. Many violinists became enthusiastic over the innovation, but nevertheless, splendidly built as the Ehrmann instruments are, they never entered any special province of superiority.
------------------------
W. C. Ehrmann
Maker
Albany. N.J. 1908
------------------------
EIBICH, KONSTANTIN
Born 1823. Died 1890. Produced a few violins of good design, proportions accurately worked out, and varnishing excellent.
---------------------------
K. Eibich
Baumeister in Posen
1885
---------------------------
------------------------
Reparirt K. Eibich
in Posen 1871
------------------------
EIBICH, MAX and ROMAN
Brothers of the preceding. Established at Posen. Principally occupied in repairing.
EICHLER, WILLY
German bow maker. Period 1926. A maker of many years experience in this art. Superfine workmanship equal to anything of modern production. Confined himself to reproducing the Tourte traits to the minutest detail. Perfectly balanced, combining strength with elasticity. Splendidly pliant sticks, permitting the necessary flexibility of the soloists first finger, in obtaining the various undulations of tone. 20.
EICHNER, G.
Amateur. Resident in Elberfeld (Germany), 1810-1826.
---------------------
G. Eichner
in Elberfeld 1821
---------------------
EINSELE, GEORGE N.
Born in America. German parentage. Connected entirely with Lewis & Son of Chicago, 1904-1927. Produced about 35 instruments yearly. Guarnerian outline, with arching modifications of his own. Minute attention paid to every rule, and nothing forced or unnatural in whole structure. All niceties of art exemplified in his splendid method of varnishing.
-------------------------------
Made by
William Lewis & Son
Chicago, Ill. Anno 1920
Geo. Nicholas Einsele
Maker
-------------------------------
(bearing monogram of W.L.S.)
Makers name either written, or a printed facsimile of it.
EINSENSTEIN, ABRAHAM
Jewish parentage. Worked in Constantinople, 1902. Went to New York, 1920. Died 1940. Violins and cellos of meritorious workmanship and varnish.
-------------------------------
A. Einsenstein & Ils
Luthier-Experts
No. Constantinople 19. .
-------------------------------
(with two designs, and much Turkish lettering between)
EINSENSTEIN, ALEXANDRA
Son of preceding. Born 1891. Worked with father. Left commercial affairs in charge of his son and pupil Georges Papagheorghiu, 1926, and joined father in New York. Same label.
EINSLE
Resided in Cedar Lake (Indiana), 1924.
EISELE, JACOB
German maker who worked in Modena (Italy), 1608-1629. Name Italianised from that of Heisele (German). Well versed in the art of lute making. Violins and viols rarely met with which never deviate into any affected mannerisms sometimes associated with German work.
EISENMANN, H.
Worked in London, 1890. Structural niceties not faultlessly achieved. Bold modelling, though there is nothing exactly extravagant to carp at. Robust scroll not delicately carved. Generally one-piece backs. Reddish golden or very dark red varnish, extremely glossy. Edges sometimes picked Out with a lighter shade of varnish. Also produced violas - rather ingeniously constructed but occasionally too fanciful.
-------------------------------------
H. Eisenmann
Violin and Violincello. Maker
London.
-------------------------------------
Note the spelling of Violincello.
EKHOLM, GUNNAR EM
Born 1895. Amateur in Oster-Frnebo (Sweden). Violins having graceful attributes. Good examples for future admiration when tone matures.
EKLUND, ELIS K.
Born 1919. Resident in Vittinge (Sweden). Double-basses showing fair power of conception in modelling, and ability in workmanship deserving wide recognition. Also produced cellos and guitars.
EKSTRAND, GUSTAF V.
Born 1863. Worked in Vndelso (Stockholm). Died 1944. Constructed 600 wellshaped instruments.
EKSTRM, GUSTAV RUDOLF
Born 1864. Amateur at Sdertalje.
ELARTON, SAMUEL
Established at Napoleon, Ohio, U.S.A., 1897. Worked there 1926.
ELDRIDGE, CHARLES
Worked in Finsbury Park (London), 1888. Amateur. His few instruments made as some of the older makers used, with little regard to time, but with an earnest longing to attain excellence. Carelessly finished workmanship. Scroll and sound-holes very minutely carved. Varnish of a transparent quality, not always to be found on amateur made violins.
ELEK, SNDOR
Born 1881. Pupil of Bohak at Budapesth. Worked in Miskolez, 1906. Excellent copies of various old Italian types.
ELEMANN, JOHANN
Worked in Augsburg (Bavaria), 1752-1763. Imparted to his model certain Stainer traits which cannot fail to hold the attention which is at once attracted. Small scroll fairly well carved. Sound-holes not so deftly executed. Purfling has not the noticeable carelessness of many Bavarians. The yellow varnish in many cases, has now turned brown on the top, whilst the original yellow retains its shade on the back.
------------------------------------------
Johann Elemann. Violin und
Lautenmacher in A ugspurg. 1763
-------------------------------------------
ELFVERSON, EDVIN KARL ADOLF
Born 1888. Amateur in Grstorp (Sweden).
ELG, J.
Born 1681. Worked in Stockholm. Died 1732. Theorbos, lutes, viol-da-gambas, double-basses, and a few violins (rare).
---------------------
Jonas Elg
Renovauit
Holmaiae. 1730.
---------------------
ELGAS, JOSEPH
Worked in Schnbach, 1805-1846. Ordinary violins seldom deviating from traditional trade instruments.
ELITERIA
Semi-commonplace modern bows. German silver mounts. Stamped Eliteria, also R.G.M.579989.
ELLERSIECK, ALBERT
Born 1843. Worked in Rostock (Mecklenburg), 1878; at Griez (Thuringia), 1895; and at Berlin, 1900. Died 1914.
Gold medallist at several Exhibitions. First instruments of an unusually large model, but though the proportions are skilfully arranged, they gave little success to his attempts to solve the riddle of magnificent tone. Subsequently built instruments on the large Stradivarian model. Workmanship quite good. Early specimens varnished with a spirit preparation of a golden-reddish hue, later examples treated to a red oil varnish, thin in quality and quantity. Strong-looking instruments though not glorious enterprises of artistic design. Several soloists at one time animated the sale of them by publicly demonstrating the tonal quality, etc. Produced all forms of stringed instruments including guitars and zithers.
-------------------------------------------------------
Albt. Ellersieck
Atelier fur Kunstbau von Streichinstrumenten
Rostock i/M. 1892.
--------------------------------------------------------
ELLERSIECK, HELLMUTH
Born at Rostock, 1886. Son of Albert. Studied at Markneukirchen, 1900-1903; worked in Berlin and Copenhagen. Established at Christiania (Norway), 1914-1926, and at Los Angeles, 1927.
Artistic modelling; orange varnish of own formula; generally a large and penetrating tone.
ELLETT, RAY
Born 1878. Musician as well as maker. Resident at North English (Iowa), 1920. Produced about 12 instruments a year. Original principles in modelling. Also built especially excellent violas.
ELLIOT, WILLIAM
Born 1862. Worked in Hawick (Scotland), 1885-1915. Stradivarian and Guarnerian modelling. Each characteristic especially well defined. Instituted the requisite caution to perfectly delineate a curve whether in outline, scroll, or sound-holes. Splendid graduation of arching; well positioned sound-holes lie very naturally on the slope. Purfling decidedly bold, but equally as neat. Golden brown varnish, soft, yet brilliant in texture and applied with all the artifice of well weighed thought and skill. Tonal quality very responsive. Instruments deserve to rank with some of the best French productions.
------------------
William Elliot
Hawick, 1914
------------------
(decorative border)
ELLIOTT, C. E.
Worked in Louisville (Kentucky), 1920.
ELLIOTT, CHARLES F.
Established at Kent (Ohio), 1915. Produced more than 100 instruments. Stradivarian and Guarnerian modelling. Brown varnish of various shades. Name inscribed on the wood.
-------------------
Chas. F. Elliott
Kent-Ohio
-------------------
ELLIOTT, J. O.
Worked in Norungen (Sweden), 1897. Very clever amateur. Instruments distinguished by that dashing sweep of arching which bespeaks the artistic mind. Fearlessly cut sound-holes and scroll. Beautiful varnish. Intensely bright tone.
ELLIOTT, WILLIAM
Born 1888. Died 1927. Carpenter and joiner. Resident at Kelveden (Essex).
ELLIS, TOM B.
Collector and repairer in Glasgow, 1923.
ELMERGREEN, OTTO G.
Born in Manitowoc (Wisconsin), 1865. Forty years in the transportation department of the Electric Railways, 1886-1926. Resident at Everett (Washington), 1926. Studied violin structure with Baume at Davenport, and Oakes at Seattle. Produced first instrument at Eldridge, 1882. Subsequent specimens vary in style and particularly tonal quality according to the caprices of the maker. The first dozen or so, passing through the transient state which is necessarily the fate of all initiatory efforts, belong more or less to the ordinary theatre or dance-hall province. Then he adopted the models of Stradivari and Amati, interweaving the principles of both into one organic whole, and endeavoured to work out the true geometry of the resonant Italian soprano tone. Christened these instruments Solo Violins. Splendid results, each realising the handsome sum of 500 dollars in 1927. Onepiece backs of very old maple of beautifully strong figure. Old spruce of rather coarse but straight grain for tops. Wood very thick at the centre (1/5 to 1/2 an inch) and graduated to 1/8 at margins. Reddish brown varnish with golden substratum (oil) compounded by himself. Tonal quality round and of full sonority combined with a persuasive timbre which leaves newness years behind. Workmanship compares with the best, every detail exactly as it should be; varnishing most gorgeous. Every maker has pet theories of construction, which, however, almost invariably fall to pieces when put into operation. One thing in favour of Elmergreens ideas is the fact that he was not compelled to produce anything merely to make a few pounds, and since he could fortunately remain an amateur, he worked only as the spirit urged him onwards to an art ideal and a glorious tonal consummation. Firmly believed that true violin tone is only producible from thick plates minutely graduated, proper realisation of air-space, perfect attuning, strong bass bar, and a very substantial sound-post. Built on these lines, each accurately geometrised, a violin became priceless, and its tone will ripen and live finely through never ending generations. Also believed that the moderns are approaching an era when the so-called lost art of the Cremonese will be resurrected; that the secret lies in the unity of vibration of both plates as the maple vibrates one octave higher than the spruce. Cutting the sound-holes lowers the sound of the upper plate one tone, and the bass bar must bring this tone back otherwise the instrument will very probably end in failure. Strongly recommended other aspirants to work solely on impulse and imagination, since the creation of a good instrument is often accidental, rather than dependant on measurements taken from any particular celebrated model.
-------------------------
Otto G. Elmergreen
1924
-------------------------
EMANUELSSON, O. E.
Born 1884. Amateur in Hallevadsholm (Sweden).
EMBER, D.
Born 1888. Violinist in the Philharmonic Orchestra at Sombor (Serbia). Made 40 violins up to year 1949. Strad modelling, first-class workmanship, varnish of own formula. Also bows, with heads inspired by famous French and German makers.
------------------------------
Kessitette Ember Deszo
Somber 19. .
------------------------------
(written)
EMDE, J. F. CHRISTIAN
Born in Waldeck (Prussia), 1806. Worked in Leipzig from 1836. Died there 1874. Instruments greatly favoured by Spohr. Produced in younger years, many excellent instruments, normally constructed on rational principles. Perhaps never wholly careful in choosing the best acoustical wood. Also not specially fastidious in the quality of the varnish, nor remarkably skilful in his application of it. Contrived to impart a tonal quality which certainly appealed to soloists of that period. Later years unaccountably brought out a declension of talent. Became very conceited and pedantic and gave himself the title of the German Stradivari, which ultimately pushed him into indifference and contempt of public opinion and approbation. Former ambitions were replaced by an affliction to produce instruments hurriedly at any cost. Shunned his previous allegiance to natural structural principles and indulged in chemical and heating of wood, etc. Also had a mania for pin-pricking the wood with some injurious substance. Tried small sound conducting strips of wood under the belly to give greater vibration, but these subsequently became disjointed and caused jarring. Ribs sometimes without linings or blocks. Conceived an original method of sawing the wood which was certainly not conducive to tonal perfection. These later instruments have not the vigour or buoyancy of tone which by now should have become naturally matured, but as they were victimised in infancy, so they are helpless and decrepit in advanced age. Became weak and melancholy in his last years, and ceased all activity in actual manipulation, but had a staff of assistants who were daily subjected to his severe surveillance and often hypochondriac irritability.
-----------------------------------------------
J. F. Chr. Emde
Bogen-Instrumentenmacher in Leipzig
Verfertigt. 1841
------------------------------------------------
EMDE, THEODOR FRANZ
Born 1834. Son and pupil of J.F.C. Died 1874.
EMERY, CHARLES F.
Established at Los Angeles (California), 1915-1927. The merits of the design and propriety of all structural parts, altogether splendid.
EMERY, JEAN
Worked in Geneva, 1840-1852. Guarnerian modelling with a few of his own ideas grafted thereon. Gives excellent illustration of his manipulative ability in all details. Scroll generally of very handsomely marked wood, well treated. Orange-brown varnish. Responsive tone with considerable richness. 40 (1930).
--------------------
Fait Genve
par Jean Emery
Maitre Luthier
Lan 1847
--------------------
Some labels dated one hundred years earlier.
EMILIANIS, FRANCESCO
Worked in Rome, 1708-1736. Valuable contributions to the violin world. Something about them other than their splendid workmanship - a personality, particularly in the tone. Good enough to stand comparison with any Italians except the great Cremonese and Neapolitans. Outline not less commendable than the arching (generally rather high, but some flatter examples known). Beautifully designed scroll, having a fine sweep and deeply cut. Best acoustical wood, always prettily flamed. Equally beautiful golden yellow varnish adds distinction. Clear, mellow tone, not large, but very round and rich. 400 (1959).
-------------------------------------
Franciscus Emilianis Roma
Franciscus de Emilianis, fecit
Roma. anno Dni, 1729
-------------------------------------
(sometimes written)
EMPSALL, JOHN K.
Worked in Ben Rhydding (Yorkshire), 1890. Died at Bradford, 1910. Amateur violinist of independent means. Member of the Bradford Symphony Orchestra. Became intensely interested in various experiments to discover the secret of old varnish. Bought instruments in the white and varnished them with his several ever-changing formulas. Some specimens look rather well, others definitely unsatisfactory. Wood over saturated with oil. Neither was he always particularly skilful with the brush etc., several examples having a patchy surface. In later years he made his own instruments and achieved a modicum of success in tonal quality.
-------------------------
John K. Empsall
Ben Rhydding 1897
-------------------------
ENDERS, F. and R.
Manufacturers in Markneukirchen, 1900-1950. Many assistants. Commercial copies of the customary standard models. Generally branded F. & R.E. or F. R. Enders, Markneukirchen (block letters).
ENEL, CHARLES
Born in Mirecourt, 1880. Apprenticed to Grillon and Gustave Bazin. Worked in ateliers of Mougenot and Deroux. Gained further experience in Switzerland and Germany, finally with Silvestre and Maucotel in Paris. Established own workshop in the rue de Rome, Paris, 1911, with Felix Bollecker as partner (solely connected with the commercial side). Died 1954. Beautifully designed instruments of pliant grace. Superfine workmanship resulting in perfection. Let those who have been weakly or unwarily prejudiced against modern French instruments have the goodness to bear in mind that these violins are not simply beautiful to look at, but are as beautiful to play upon.
----------------------
Charles Enel
Paris 19. . No. . .
----------------------
(double-circled monogram on left)
------------
Ch. Enel
Paris
------------
(St. George and Dragon in circle, in middle)
Branded inside and below button. This label is for his second-class instruments.
Later label for best instruments: -
---------------------------
Er Pique faciet ca.
Ch. Enel
A Paris
Annee. . . . No. . . . .
---------------------------
(design of a double cross at top of beautifully designed label)
Branded in form of a triangle with signature in centre. Made over 215 instruments up to year 1949. 85 to 100, 1959.
ENEL, PIERRE
Born in Mirecourt, 1903. Apprenticed to Lon Mougenot, 1916. Worked with his Uncle Charles, 1919-1934. Established at Lyons, 1935.
-------------------------
Pierre Enel Neveu
Lyon en Lan 1938
-------------------------
--------------------------
Pierre Enel Neveu
Lyon. Annee 19. .
--------------------------
ENESTUBBE, J. O.
Born 1892. Employed on the railway at Gteborg. Violins and cellos.
ENGBLOM, ROBERT
Born 1900. Amateur in Gteborg (Sweden).
ENGELHARDT, ADOLF
Bandmaster and violinist in Prague, 1860. Well-made violins, darkish brown varnish.
-----------------------
Fecit 1860
Praha
Adolf Engelhardt
----------------------
ENGEN, SID H.
Born in Norway, 1902. Emigrated with parents in 1905 to Canada and settled at Dauphin, Manitoba. Began making violins in 1919 by studying books on the subject, and up to the year 1959 has made 37 violins and one viola. Uses maplewood for back, ribs and necks, with spruce for tables mostly, although occasionally uses rosewood, beech, cedar and pine. Varnish ranges from yellow to dark brown, some almost black. Well-known as a repairer of all stringed instruments. Strad, Guarnerius and Stainer models.
-------------------------------------------
Hand Made By
Sid H. Engen
------------------
Dauphin, Manitoba, Canada.
Anno 19. . . . . . . . No. . . . . . . . .
-------------------------------------------
(printed)
Some instruments have hand-written labels.
ENGER, GULBRAND
Born 1822. Died 1886. Worked in Copenhagen. Pupil of Jacobson and Vuillaume. Maker to the Court. Stradivarian modelling, a bold scroll, and graceful sound-holes, several shades of brown varnish, workmanship completely satisfactory. Splendidly strong and healthy tone. Also 16 inch violas, excellent material.
-----------------------
Gulbrand Enger
Kjobenhavn. 1861
-----------------------
--------------------------------
Made by Gulbrand Enger
Copenhagen 1881
--------------------------------
---------------------------------------------------------------
Repareret af G. Enger
Los Kgl. Hof Instrumentmager Th. Jacobsen i Esch
Gqualdergaden 169 Kbhis 1854
----------------------------------------------------------------
ENGER, HAGBART
Born 1860. Son and pupil of G. Worked in several European cities. Returned to fathers place in Copenhagen.
ENGL, ADALBERT
Worked in Vienna 1890; Berlin 1900. Violins generally praised by connoisseurs.
ENGL, JULIUS
Industrious innovator in Vienna, 1921. Hit upon the idea of tonally improving violins of ordinary calibre - known as the Engl violin. Claimed that his modifications resulted in a captivating tone-colour similar to the Stradivarian. When the veil of his patented secret was raised, it was found that he had cut into the year-rings of the belly wood, and glued eight to ten thin fillets of pine slantwise. Another of the extraordinary ideas (subsequently doomed to extinction), formulated to scent out the Italian tone. Also supposed to have penetrated the varnish secret of the Cremonese. In 1926, the Austrian Violin Makers Association instituted proceedings against him for unscrupulous advertising in which he guaranteed to reproduce the Italian master tone. He was ordered by the Vienna Commercial Court to desist from an unjustifiable claim, as experts had at tested that the innovations effected involved weaker and duller tone.
ENGLEDER, A.
Worked in Carlsruhe (Baden), 1860-1880. Smooth workmanship, rich varnish of splendid hue; pretty wood.
ENGLEDER, ALOYS
Born 1812. Died 1883. Studied at Regensburg. Worked in Buda-Pesth. Workmanship does not show much artistic capability. Modelling usually Stradivarian, occasionally Amatese. Generally applied a hard spirit varnish which is apt to crack.
---------------------------
Aloys Engleder
reparavit Budae 1862
---------------------------
ENGLEDER, ANDREAS
Born at Regensburg (Bavaria), 1810. Died 1861. Pupil of Fischer and Vauchel. Violin maker to the Court of Munich. Exhibited 1854, a quintet of instruments on a new pattern of his own. Pear-shaped outline. Upper half contracted, passing almost perpendicularly into the curves, wholly omitting the upper corners. Lower half expanded nearly in a proportionate degree to the contraction of the upper, also with corners abolished. Awarded medals on account of the exquisite workmanship, but the tonal results were not improved, and like many another futile invention, its further use was negative. Also produced several splendid instruments not departing from traditional form. Tonally, these results of solid formation are now travelling from strength to strength and to the summit of maturity. 50 to 80, 1959.
--------------------------
Andreas Engleder
fecit Monachii, 18. .
--------------------------
--------------------------
Andreas Engleder
fecit Monachii, 1846
--------------------------
(copper-plate writing bearing the Royal Bavarian emblem in centre)
ENGLEDER, JOSEF
Born 1815. Died 1860. Worked in Kehlheim (Bavaria), 1838, and at Ratisbon, 1851. Nice design and careful workmanship. Sober looking varnish of deep reddish hue.
------------------------------------------
Reparavit Jos. Engleder Instru-
mentenmacher in Kehlheim, 1840
------------------------------------------
(Italicised lettering)
Branded Jos. Engleder.
ENGLEDER, LUDWIG
Worked in Bamberg (Bavaria), 1835-1873. Violins and cellos of Stainer modelling though freely modificated in the arching and sound-holes. Chose good wood, and used it rather plentifully. Cramped-looking scroll, purfling not especially delicate. Varnish too glossy to generally please. Fairly powerful tone, but not of penetrating clarity.
---------------------------
Ludwig Engleder
instrumenten macher
in Bamberg, 1846
---------------------------
ENGLUND, SVEN DAVID
Born 1898. Amateur in Stockholm. Pupil of Friberg.
ENGSTRM, KARL JOHAN
Born 1879. Amateur in Hven (Sweden).
ENOSSI
see BERENDSEN.
ENTZENSPERGER, BERNARD
Born 1828. Son of Bernard (celebrated guitar maker to Viennese Court). Worked in Leipzig, Strasbourg, and Paris (with Bernadel). Returned to Vienna, 1855. Died 1896. Excellent toned violins nicely varnished.
ENTZENSPERGER, C.
Worked in Fuessen (Bavaria), 1708-1756. Six-stringed Viol-dAmour at Bale Museum. Highly arched, varnish clear yellow with corners and back of red-brown colour.
----------------------------------
Christopf Entzensperger
Lauten und Geigen macher
in Fssen. 1714
----------------------------------
EPP, JEAN JACOB
Born 1639. Son of M. Worked in Strasbourg. Viol-da-Gambas, flamboyant wood, reddish varnish.
EPP, MATHIAS
Born in Fuessen, 1610. Worked in Strasbourg, 1652. Died 1675. Distinctive lutes, pocket fiddles, and Viol-da-Gambas mostly preserved in museums.
------------------------
Matheus Epp
in Strasbourg 1655
------------------------
ERAS, RUDOLF
Born 1904 Worked in Markneukirchen, 1940. Specialist in making replicas of historical instruments of medieval period.
-------------
Eras 1949
-------------
(design in middle)
Also branded.
ERBA, CARLO
Born 1905. Son and pupil of Paolo. Made 45 violins, violas, cellos and 3 double-basses up to year 1949. Praiseworthy modelling, varnish artistically applied.
----------------------------------
Carlo Erba
figlio di Erba Paolo fece in
Mariano Comense 1946
----------------------------------
ERBA, PAOLO
Born 1874. Cabinet maker in Mariano Comense (Italy). Died 1927. Violins, violas and cellos. Won silver medal for a quartet, London, 1904.
------------------------------
Erba Paolo fece in
Mariano Comense 19. .
-----------------------------
(on parchment)
ERGELE, JOHANN CONRAD (1)
Born 1725. Worked in Waldshut (Baden). Died 1788. Violins rather reminiscent of the Straube style.
ERGELE, JOHANN CONRAD (2)
Born 1750. Died 1821. Son and pupil of J.C. (1). Worked in Freiburg-in-Breisgau (Baden). The term really good may be applied to these scarce instruments. Structurally correct, pleasant varnish, satisfactory tonal quality. 25 (1925).
--------------------------------------
Joh. Conrad Ergele
Lauten und Geigenmacher
fecit Friburgi Brisgoviae 1806
-------------------------------------
(decorative border)
ERGGELET (ERGELE), JOHANN NEPOMUK
Born 1777. Died 1863. Son and pupil of J. C. Ergele (2). Frenchified his name as the town was occupied by French for quite,a long period.
-----------------------------------
Joh. Nepomuch Erggelet
in
Freyburg im Breisgau 1809
-----------------------------------
ERHARD, PAUL
German. Worked in Genoa.
-------------------
Paul Erhard
Geigenmacher
Genoa 1690
-------------------
ERIKSSON, BJRK AND
Born 1881. Amateur in Osteraka (Sweden). Died 1937. Made several bowed instruments, also violins known in his country as The Sorcerer with slight deviations from customary form.
ERIKSSON, ELIS NICANOR
Born 1898. Amateur in Kramfors (Sweden). Strad or Guarnerian modelling, excellent workmanship, well-laid purfling, well posed sound-holes, especially good scroll, and yellow or red varnish.
-----------------
No. 19. .
Elis Eriksson
Kramfors
-----------------
ERIKSSON, ERIK
Born 1877. Worked in Furudal (Sweden). Won medals at Stockholm, 1925 and 1936. Produced over 200 violins, cellos, double-basses, guitars and lutes. Many of cautious workmanship with a modicum of refinement.
--------------------------
E. Eriksson
Furudal
No. . . . .) (. . . . 19
--------------------------
(with design of a torch and circle)
ERIKSSON, ERIK JONAS
Born 1884. Amateur in Gteborg. Made about 40 violins. Satisfactory ingenuity. Good textured varnish artistically applied.
-------------------
Eric Ericsson
Goteborg 19. .
-------------------
(block letters)
ERIKSSON, KARL GIDEON
Born 1893. Amateur in Pite Langus (Sweden). Praiseworthy manipulation; careful application of vainish.
ERIKSSON, PER JOHAN
Born 1871. Worked at Eskilstuna (Sweden). Won gold medal at Vasteras, 1929. Regarded as the best maker in his country. Produced over 400 violins, violas, and cellos. Refined workmanship has established his claim to a high position, a reputation that should reverberate through other countries. Signed interiorly on the wood.
ERIKSON, LARS-ERIK RAGNAR
Born 1912. Resident at Gteborg. Instruments which assign the maker to a fairly high position throughout Scandinavia. Splendid yellowish orange varnish.
--------------------
Ragnar Erikson
Goteborg, 19. .
--------------------
ERIKSON, PER ERIK
Born 1885. Amateur in Torgasmon (Sweden). Indisputably good Strad designs, with details of excellent workmanship (notably the scroll). Yellow or brownish yellow varnish. Signed (with the address) interiorly on the wood.
ERNST, FRANZ ANTON
Born in Georgenthal (Bohemia), 1745. Studied the violin at the Prague Conservatorium, 1763. Also employed himself with building of violins as a recreation from assiduous practising. Received the appointment of solo-violinist, chamber-musician and composer to the Prince of Saxe-Coburg at Gotha, 1778. Wrote concertos and solos for his instrument. Died 1805. Duties at the Court not being particularly onerous, he found sufficient time to resurrect his previous exploitation in violin structure. Thereupon pursued it with great ardour, made himself thoroughly acquainted with all mathematical principles and acoustics, and built violins on the model of the Cremonese. Made numerous experiments with measurements of other models etc., but after 20 years, came to the wise conclusion that the Stradivarian form was the culmination from which further improvement was not possible. Spohr played on one of these instruments for several years. Violins so well conditioned had a prosperous voyage for many years, but latterly, they have largely fallen into collectors hands, and to most of us, merely have an historical interest. Tonal quality said to be approximate to the Italian. Flawless workmanship. Superb varnish.
EROICA
Trade violins catalogued at 5 (1903).
ERTHEL, LEOPOLD
Worked in Venice, 1710. Probably apocryphal.
ERTL, CARL
Worked in Pressburg (Hungary), 1835. Died 1870. Son and pupil of Jacob Emulated the designs of a Leeb or Schweitzer. Conception and execution highly praiseworthy. Delicate purfling, feminine sound-holes, and rather small scroll, which however is not deficient in beauty. Made extensive experiments in chemical research, also evolved a very beautiful varnish which he subsequently denominated Cremonese and claimed to have discovered the so-called lost secret. Label is oblong, but lettering is within a diamond-shaped and garlanded design on a dark background.
---------------------------------
Carolus Ertl
Geigenmacher in Presburg
1847
---------------------------------
Some specimens fictitiously dated as early as 1802. One violin with richly laid patch-work preserved in Paris Conservatoire.
ERTL, JAKOB
Born in Keiling (Moravia). Worked in Pressburg, 1790-1814. One violin preserved in the Pressburg Cathedral. Also made guitars.
-----------------------
Jacob Ertl
in Pressburg 1812
-----------------------
ERTL, JOHANN ANTON
Worked in Vienna, 1809-1828. Violins and guitars. Instruments not departing from the well trodden path of the Viennese School.
Pleasant to view the skilful and careful handling of the various details.
-----------------
Johann Ertl
in Wien 1809
-----------------
(bearing design of the Austrian double eagle)
----------------------------------------
Mit allerhochstem Privilegium
Johann Ertl in Wien
----------------------------------------
ERVINE, ROBERT
Worked in Belfast, 1893-1925. One of the thousands of pilgrims attracted to the powerful magnetism of the Stradivari. Conceived nothing wondrous in design, but certainly something that rewards examination and compels approbation. No nicety of workmanship overlooked - externally and internally. Whole contour is feminine rather than masculine, and as such, is accurately proportioned longitudinally and latitudinally. Splendidly positioned sound-holes. Light brown shade of varnish. Tonal quality clear and of considerable penetrative force, certainly new, but not rough.
-------------------
Made by
Robert Ervine
in Belfast
1914. No. 103
-------------------
(italicised lettering)
Some labels have his initials circled. Also he produced bows of fine finish, excellent balance and elasticity, priced at the modest sum of two guineas.
ERWIN, JOHN BRUCE
Born 1920, Jacksboro, Texas. Graduated with Bach. of Arch. Univ. of Texas, 1943; Lt. USNR WWII and Korean War, Pacific Theatre; Architect; Exhibited Abstract Water Colour Paintings in Texas, California, New Zealand. Makes only violins, five each year since 1955 using pre-1700 Strad. pattern with 1716 flat Strad. arching. Varnish varies from yellow to brown. American and European woods. Pupil of E. H. Sangster. Price 500 to 750 dollars.
ESPANA, FRANCISCO
Worked in Barcelona (Spain), 1820-1850. Designs which the eye does not revel in, though there is no touch of mediocrity. Undulations of arching are not perfect. Tolerably good scroll but without individuality. Sometimes double-purfling. Yellow or deep red varnish not to be deprecated. Produced an occasional specimen on which he bestowed greater care.
----------------------------
Francisco Espana
me Lizo en Barcelona
Ano. 1822
----------------------------
Also branded Espana en Barcelona on the interior, and under button.
ESPINE
see DESPINE.
ESPOSITO, GIOVONE (GIOUSU)
Worked in the Caluta S.S. Cosmo e Damiano, Naples, 1870-1898. Pupil of Vinaccia. Violins, guitars and mandolines.
ESPOSITO, R.
Son of G. Worked in Naples, 1883-1894. Usually Gagliano modelling. Brownish yellow varnish. Fine tone. 250, 1959.
---------------------------
Raffaele Esposito
in Napoli Anno 1888
---------------------------
ESTNER, JACOB
Worked in Absam (Tyrol), 1710-1720. Modelling (though somewhat Tyrolian) emphatically un-Stainer like, but its non-pronounced arching contents the critic. Small sound-holes carefully executed. Golden brown varnish of a deep shade. 20. (1930).
------------------------------
Jacobus Estner
in Absam oenij pontum
Anno 1716
------------------------------
ETIENNE, FRANCOIS
Worked in Orleans, 1808-1835. Attractive modelling, transparent varnish of good texture, and warmly bright tone.
EULRY, CLEMENT
Worked in Mirecourt, 1820-1865. Eight-stringed (in four pairs) mandolines with backs inlaid with different woods. Produced many admirable bows in the style of Nicolas Maire (for whom he worked).
Stamped Eulry. Also solid-looking violins, not especially well varnished.
EURY, JACOB
Worked in Mirecourt, 1775-1790. Well constructed instruments. Tonal quality rather dull. Also produced many bows worthy of being sought after.
Stamped J. Eury.
EURY, NICOLAS
Bow maker. Born in Mirecourt. Worked in Paris, 1800-1830. Vivacity of elasticity assembled with strength, inciting the performer to attempt various fancy bowings. Handsome octagon sticks of medium red colour, generally considered to be superior to the round sticks of chocolate colour. Stamped Eury. Sometimes this stamp is under the silver thread lapping. Some players prefer them to the Tourte.
EUSCHEN, KARL
Born 1902. Pupil of Tenucci at Zurich. Worked for Mckel in Berlin. Established at Winterthur, 1939. Italian and French models. Mckels varnish.
--------------------
Karl Euschen
Winterthur 19. .
--------------------
-----------------------------
Karl Euschen
Winterthur Anno 19. .
-----------------------------
EVANGELIDIS, GIORGIOS KARL
Born 1860. Worked in Italy, France and Germany. Established at Athens (Greece), 1885-1920. Cremonese models. Good workmanship in all details. Also mandolines, guitars and Grecian lyres.
EVANGELISTE
see VANGELISTE.
EVANS, ISAAC PROBYN
Worked in Merthyr Tydfil (Wales), 1890-1912. Amatese and Guarnerian modelling.
EVANS BROTHERS
Thomas (born 1885) and Ralph (born 1893). Residents at Shildon, 1920. Guarnerian modelling of the 1740 period. Body length 13-7/8 inches. Orange oil varnish prepared by Angell of Bristol. Instruments made entirely from impulse and enthusiasm for the art, and not as selling commodities. Experimented on a special system of tone production and anticipated success (1925).
-----------------------------
No. . . . . . . . . . .1924
Evans Bros.
Violin Makers
Shildon. Co. Durham
-----------------------------
EVANS, RICHARD
Worked in Anglesey, 1730; and in London, 1749-1763. Produced violins and Welsh harps.
-------------------------------------------
Made in the Parish
of Lanirhengel by
Richard Evans
Instrument maker in the year 17. .
--------------------------------------------
VE, JACQUES CHARLES
Worked in Paris, 1758-1790. First period instruments plump-looking in the old German style. Very high arching with deeply grooved margins. Fairly small Stainerish sound-holes rather stiff looking. Scroll peculiarly done, rather long. Deep ribs, of material without figure, lower section of ribs frequently of one piece. Usually two-piece backs with narrow figure. Red spirit varnish which does not commit itself to much of a brilliance. General contour rather heavy-looking, but never any careless workmanship. Subsequently modified in a slight degree the above apparent exaggerations. These are happier in the varnish, although a spirit one, the shade being something between yellow and reddish brown. Tone fairly full but not sonorous or penetrating.
-----------------------------------------------------
ve. Md. Luthier, rue S. Andre des
Arts, prs la rue Dauphine Fg. S. Germain,
la Fortune, Paris 1758.
-----------------------------------------------------
Md. means Marchand (dealer). Fg. means Faubourg (suburb).
---------------------------------------
ve, luthier, rue
Culture-Sainte-Catherine, 1770
A la Fortune
---------------------------------------
----------------------------
ve, matre luthie
rue Vieillc-du-Temple
Paris 1788
----------------------------
EVRED
Resident at Saint Quentin (France), 1860-1890. Possibly a dealer who bought violins from a Mirecourt Firm.
-----------------------
Lutherie artistique
Evred
St. Quentin
-----------------------
EWAN, DAVID
Born in Stoneyhill (Scotland), 1838. Died 1912. Performer of Strathspeys - also composer of Scottish dances. Produced 100 violins, and 20 cellos. Early instruments unduly arched, red varnish. Later specimens of more rational build though of somewhat aggressive arching, but crudeness in workmanship entirely absent. Varnish of clear brown and yellow shades. Violins priced 20, cellos 30.
--------------------------------
D. D. Ewan
Teacher of Music
Violin maker and repairer
Cowdenheath
--------------------------------
(branded below button)
EYLENSTEIN, ADAM
Born 1705. Worked in Weimar (Thuringia) from 1725. Repairer, etc. to the Court. Violins of agreeable modelling, always satisfactory to contemplate. Violas sensibly arched. Cellos something approximate to the Cremonese. Lutes and guitars artistically decorative.
EYLES, CHARLES
Born 1854. A painter of repute. Resident at Bedford, Wangford, Harpenden, and finally at Bournemouth, 1924. Became interested in violin structure, through his young daughters exceptional gift as a violinist, 1890. Produced about 200 hobby-specimens, and achieved the usual fluctuating success. Stradivarian or Guamerian outline, but with originalities in arching. Remnants of Guarnerian traits pervade the scroll, but occasionally the boss seems unduly prominent. Sound-holes sometimes impressionable in curvature but others more of true gracefulness. Purfling accurate. Elastic and transparent varnish, generally orange red in colour. Tonal quality responsively clear, but not of outstanding depth. Several instruments presented to Carrodus, Marie Hall, and other virtuosi.
-------------------------------
Charles Eyles
in Wangford, fecit 1917
-------------------------------
EYLING, THOMAS
Worked in Gloucester, 1800-1820. Amatese modelling, not distinguished by anything out of the ordinary. Sweet tonal quality. Instruments doomed to be shelved.