JACKLIN, CYRIL WILLIAM
Born at Loughton (Essex), 1902. Worked in London. Director of the Albert Arnold Firm, 1947. Pupil of Tubbs for bow making. Guarnerian or Guadagnini modelling, orange varnish, secret preparation of woods previous to varnishing. Firm closed down on death of Mr. Arnold. Mr. Jacklin moved to Loughton, Essex, where he now carries after business on his own account - as Repairer, Dealer and Expert.
--------------------------
Cyril Wm. Jacklin
(Jacqueline) London
A.D. - 1928
--------------------------
(with signature)

JACKLIN, T.
Resident at Hull, 1900-1914. Very good workmanship.

JACKSON, A. E.
Born 1880. Worked at Ogdensburg and Rossie (N.Y.) Son, pupil, and assistant of L.C. Made about 50 instruments up to the year 1942. Stradivarian and Gagliano modelling. Varnish of oil and spirit, dark red and golden brown.

JACKSON, L. C.
Born at Ogdensburg, 1857. Still working (in 84th year) with his son at Rossie, 1941. Productivity of at least 100 excellent violins.

JACOB, ERNST RICHARD
Born 1879. Worked at Markneukirchen, 1908; later at Leipzig. Died 1939. Good copies of Cremonese styles.

JACOB, JOHANN GEORG
Worked at Klingenthal, 1740-1779. Well built violins in the Hopf and Hoyer styles.

JACOB, WALTER FRANZ
Born 1892. Worked at Berlin, Wiesbaden, Barmen, and at Stuttgart, 1933. Excellent copies of old style.

JACOBS, HENDRIK
Born at Amsterdam, 1630. Died 1699. There is every evidence that these violins are becoming eagerly sought for by players, and meeting with much approbation from connoisseurs in Europe and America. Probably the most important Dutch maker. A legend has floated here and there which affirms that he worked with Amati, and married one of the daughters. Legends are sometimes more amusing than truthful. Copied the grand Amati model with astonishing refinement and delicacy of varnishing. Made the outline minutely exact with that of an Amati, also chose the same figured wood to make the imitation more complete. Certain specimens have been mistaken for Cremonese, and actually disposed of as such. This, to us, seems exaggerated, and we feel sure that an expert has never been misled, for there are, on careful examination and comparison, too many strong characteristics emphatically belonging to this Dutchman, which in their turn are not in much danger of eclipse or of adequate imitation from any maker of his country, Jacobs genius was too cogent for that. Often said that he inserted Amati labels, but this has never been satisfactorily proven. Amati labels, however, have been used by certain busily unscrupulous persons who seem to exist in every age. Plenty of variety to be admired about Jacobs modelling. Generally of large pattern (body length, 14/16 inches) but smaller examples are also known.
Entire contour of a kind of graceful solidity. Moderate arching, and very well formed corners (slightly longer than the Amati). Cutting of the scrolls may possibly dissatisfy. We have always found them rather too narrow, and certainly a trifle mean looking, causing wonder why he failed to conceive more grace or robustness in this important ornament. Sound-holes also vary in form, some having the Amati setting, of course, but others obviously suggested by Stainer, generally too much rounded (a strong individuality). Table wood invariably of fine grain.
Back and ribs of handsomely flamed material varying from close to bold figure. Splendid whalebone purfling, and there is an effective little groove with a fascinating little gradient therefrom. This whalebone has sometimes been removed by other hands, and wooden material substituted, when attempts have been made to gull the credulous that they are buying an Amati. Varnish different from that of an Amati, not only in quality and tint, but also in the mode of its application. Reddish brown generally, occasionally a red tending to purple, and (only on later instruments) a rich golden orange. In neither instance does he get on an equality with Amati though he merits distinction. Its constitution is heavier, and the surface is not so finely finished.
Tonal quality bears slight affinity with that of the Cremona violin, in fact its character is quite distinctive, nevertheless a splendid one, not very powerful, but its penetrating sweetness may be particularised. Catalogued at 150 (1930) and the exorbitant figure of 1,000 dollars in America. 400, 1960.
------------------------------
Hendrik Jacobs me fecit
in Amsterdam, 1690
------------------------------
(square lettering)
Label occasionally without the word in. Sometimes the spelling of the name is Jacobus or Jacobsz (on early instruments).
Produced a few really splendid violas, on which he lavished his best workmanship, and showed up the capabilities of colour in the varnish.
Many violins (undoubtedly forgeries) bear the name of Jacobs - cheap affairs, with common whalebone purfling, of heavy construction, and quite ordinary looking. Value about 10.

JACOBSEN, THOMAS
Worked at Copenhagen, 1810-1853. Pupil of Lund; also gained experience in German workshops, and with Vuillaume at Paris.
Violins and cellos all excellent, alike for workmanship as for carefully chosen wood, and adaptation of the particular model imitated. Thoroughly successful in varnishing. He ought to have reaped a richer reward for his skill and enterprise in producing instruments that go a long way ahead of average merit. Son succeeded to the business. 100, 1960.
----------------------------
Forfoerdiget af
Hof-Instrumentmager
Thomas Jacobsen
Knarbrostraede 134
Kjbenhavn, 1824
Repareret af
---------------------------
(royal emblem in centre)
---------------------------------------------
Hof-Instrumentmager. Th. Jacobsen.
Squaldergaden 169. Kbhn. 1851
---------------------------------------------

JACOBSSEN, ADOLF
Born 1869. Amateur at Hammarstrand (Sweden), 1915.

JACOMINI, GIROLAMO
Established at Carbognana (Rome), 1925.

JACOMONI, ACHILLE
Worked at Marseilles, 1889-1925. Brown varnished violins and cellos of good style and workmanship. Guitars of superior construction, built for soloists. Assisted by brother of J. (well-known guitarist).
------------------------------------
Jacomoni Frres, 1892.
3, Rue St. Francois de Paule,
Marseille.
coin de la place St. Michel
------------------------------------

JACOT, JEAN CHARLES
Born 1811. Worked at Metz. Died 1887.
Violins and guitars, both of slight interest.
--------------------------
J. . . . . . grand lutier
Metz, sans Loraine
--------------------------

JACOT, WERNER
Born at Chaux-de-Fronds (Switzerland), 1889. Worked there with brother Alex (born 1906). Generally Tyrolean modelling - delicate and refined workmanship, especially the scrolls; oil varnish of hazel nut brown and red-brown shades. Gold medal at Geneva Exhibition, 1927.

JACQUEMIN, RENE
Born at Mirecourt, 1886. Pupil of Audinot. Worked for Caressa at Paris. Established in native place, 1919. Gold medal, 1926.
--------------------------------------------------------------
Rene Jacquemin,
Ex Ouvrier des Luthiers du Conservatoire de Paris.
70, Rue Chanzy-Mirecourt.
Anno 1926
--------------------------------------------------------------

JACQUEMOT, G.
Born at Mirecourt. Worked at Toul, 1880.
Very ordinary Mirecourtian style of broadish dimensions, yellow-brown varnish.
--------------------------
G. Jacquemot
Toul 1893. 13 juillet
--------------------------

JACQUET, A.
Bowmaker. Worked at Paris. Bows somewhat similar to the Vuillaume type. Sticks of light chocolate colour, generally around 10. Stamped A. Jacquet.

JACQUET, GABRIEL
Known as Jacquet Gand (family of his wife). Born 1848. Died 1899. Worked at Mirecourt. Modelling of his violins conveys a fair idea of harmony of form. Flattish arching, good scroll, and sound-holes rather graceful. Yellow varnish not very transparent, or warm looking. 15. Name branded. Produced some excellent double basses. Also a few cellos with double purfling. 65, 1960.

JACQUET, GABRIEL XAVIER
Born 1838. Son of Joseph X. Worked at Mirecourt. Specialised in double basses. Workmanship not highly finished, but tonal quality decidedly good.

JACQUET, J.
Worked at Alencon (France). Born at Mirecourt.
----------------------------------
Racommode par J. Jacquet
A Alencon Lan 1796
----------------------------------

JACQUET, JOSEPH XAVIER
Born 1810. Worked at Mirecourt. Died 1865. Specialised in making good form double basses, some having fantasy heads. Branded ҅. Jacquet.

JACQUOT, ALBERT
see ETIENNE CHARLES ALBERT.

JACQUOT, CHARLES
Born at Mirecourt, 1804. Apprenticed to Nicholas aine, 1819; later to Breton. Established at Nancy, 1827-1854, and at Paris until death, 1880. Early instruments emanating from Nancy are wholly of Mirecourt style, not endowed with much beyond the very ordinary, and often of poor quality wood.
Outline and arching show only the faintest germ of artistry, and workmanship of other details obviously illustrate that he was but walking along the road picking up grains of experience. We are told that he was a very consciehtious worker - one who often mistrusted the next day what he had done the preceding day and destroyed several of such conceptions - and that he manfully strove to accomplish a greater uniformity of skill as he had no wish to be outdone by any contemporary. On taking up residence in Paris, he had matured his talents and produced many instruments that do honour to his name and the French school.
Stradivarius, Guarnerius, and Maggini modelling, handled with considerable power, and reminding of a J. B. Vuillaume. Fine freedom of touch about scroll and sound-holes. Various shades of varnish, generally of fine texture, from yellow to red (perhaps a little too brilliant to satisfy some) particularly the ordinary red on orange ground. Tonal quality brilliant, but twangy and nasal, though this is disappearing with age. Realised about 12 for each instrument, not a poor figure in his day. Catalogued 1930 at 25. 85, 1960.
-------------------------------------
Medailles dor et dargent
Charles Jacquot J+C
42, rue de lEchiquier a Paris
-------------------------------------
----------------------------------
Medailles dOr et dArgent
C. Jacquot.
Luther Poissonnerie-19
19, Rue de Ia Nancy
----------------------------------
(with two series of medals)
Early instruments often not labelled.

JACQUOT, ETTIENNE CHARLES ALBERT
Eldest son of Pierre Charles. Born at Nancy, 1853. Studied the art with his father, with whom he remained. Died 1929. Instruments that soon found favour with the public. Fine modelling after Stradivarius and other Italians. Worked with lightness and delicacy of touch combined with the highest finish little, if at all, inferior to any maker. Altogether of elegant appearance, splendid results of years of research work in the acoustical properties of wood, and the vagaries of outline and arching. Scroll admirable in pose. Sound-holes gracefully carved. Excellent oil varnish, transparent, and firm in texture. Well balanced tonal quality not to be ignored by critics in such matters.
-------------------
Albert Jacquot
Luthier
-------------------
---------------------------
19, rue Gambetta, 19
Nancy, 1899
---------------------------
Designs of medals over the top - shield (on the left) with the initials A.J., and (on the right) the Lorraine coat-of-arms. Name also branded on the back. Recognised as a learned connoisseur. Nominated Officer of Public Instruction. Decorated with the Leopold Order by the King of the Belgians. Member of the Beaux Arts, Paris. Author of Violin Making in Lorraine and France (Fischbacher) and other dictionary form works. 125, 1960.

JACQUOT, FERNAND
Son and successor of the preceding. Born at Nancy, 1884. Studied at Mirecourt in the workshop of Mougenot Gauche. Established at Nancy, 1925. Won medals and diplomas at many exhibitions. Produced instruments, which, for elegance and grace of form, and loveliness of varnish rank among the best of the modern school. Also there is a tonal quality which, with increasing age, will inevitably increase their pecuniary value.
Similar label to that used by father, shield, initials F.G., and Lorraine coat-of-arms. 90, 1960.

JACQUOT, FRANCOIS
Born 1740. Worked at Mirecourt. Died 1789. Not imposing entities, but good of their class. Dark shade of yellow brown.

JACQUOT NICOLAS
Born 1700. Died 1763. Worked at Mirecourt. Produced some moderately good shaped flattish instruments. Golden red oil varnish, very transparent. Adopted the prevalent plan of Mirecourtians by putting Paris as the place of origin.
Branded in square lettering:
--------------------
Nicolas Jacquot
Paris
--------------------

JACQUOT, NICHOLAS
Worked at Mirecourt, 1770-1841. Specialised in bow making. Produced many examples of fine balance, and rather well finished workmanship. Name stamped.

JACQUOT, PIERRE CHARLES
Son of Charles. Born 1828. Died 1900. Succeeded to fathers business at Nancy, 1854. Gained a splendid reputation for well constructed instruments following the models of Stradivarius and Guarnerius. Copied the style of father, but with workmanship less refined, also of heavier appearance. Recipient of medals at Merz 1861, London 1862, Lyons 1870, Paris 1878, Algiers, Moscow 1891, Vienna 1891, and Chicago 1892. Received the cross of the Legion of Honour, 1892.
75, 1960.
-------------------------------------
Medailles dor et dargent
C. Jacquot
Luthier
19, rue de la Poissonniere 19
Nancy
-------------------------------------
(designs of medals on left and right)

JAEGER, ADOLPH
Born 1905. Worked at Markneukirchen. Excellent designs, similar to those of his uncle Hermann.

JAEGER, CARL
Born 1841. Pupil of Schiefler at Hanover. Established at Hildesheim, 1868. Died 1918. Strad model, good workmanship, dark yellow varnish.

JAEGER, HANS
Born 1858. Pupil of Glaesel. Worked at Ratisbon and Amsterdam. Established at Markneukirchen, 1885. Commendable designs, excellent oil varnish.

JAEGER, HERBERT
Born 1893. Son and pupil of Hermann. Worked at Halle (Saxony). Similar modelling to that of his father.

JAEGER, HERMANN
Born at Markneukirchen, 1867. Pupil of Weller. Established at Breslau, 1890. Died 1942. Stradivarian modelling deserving of attention. Also own model happily exempt from any imprudencies of extravagance. Enlightened conception pervades entire contour. Superbly treated with a specially prepared oil varnish which is the result of the usual long train of experiments. Imparted a tone of which future players will gladly avail themselves.

JAEGER, HERMANN LUDWIG
Established at Markneukirchen, 1912-1925. Commercial violins and strings.

JAEGER, JOHANN ADAM
Born 1688. Died 1765. Master in the Markneukirchen Guild from 1716. Instruments receiving all that genuine treatment which is the natural attendant of enthusiasm. Everything analogous to the Saxonian style of his day. Design, workmanship, and varnish, altogether praiseworthy. Tonal quality not rising to any uncommon pitch of purity, but certainly of reasonable warmth, with a modicum of brightness. 25, 1925. 75, 1960.

JAEGER, JOHANN GEORG
Worked at Markneukirchen, 1760-1770.
----------------------------------
Johann Georg Jaeger
Violinmacher in Neukirchen
----------------------------------

JAEGER, OTTO
Worked at Frankfort on Oder (Prussia).
------------------
Otto Jaeger
Frankfurt a-O
Gefertigt 1902
------------------

JAENICKE, FRITZ
Born at Berlin, 1889. Worked at Munich, Breslau, and Bale. Settled at Rotterdam, 1930. Strad modelling on which he has imparted some modicum of the radiance belonging to the examples of the prototype. Splendid varnish of own formula. Signed interiorally with pen.

JAFFRAY, THOMAS B.
Born at Hackney (London), 1863. Resident at Lismore (Australia), 1920. Earned enviable reputation as creator of mellow tone with spreading power violins. To his ability as a craftsman he added a wide scientific knowledge. Never contented to merely replicate a particular old model, but always had a proclivity for experimenting on the theoretical basis that every piece of wood must be treated in a special and independent manner. Modelling suggests more Guarnerian influence than any other, but strong individuality is associated with each example. Tone regulated by a secret art of his own, concerning the thickness of the back. Also optimistic in believing that his productions would be unrivalled in the far off future. Some backs of red beech 100 years old. Tried Australian timbers but found them quite unsuitable for imparting the peculiar quality of tone desired. Light brown varnish up to 1922, subsequently chestnut red. Several times gratified by receiving 50 for a specimen.
----------------------------------------
Thos. B. Jaffray, Maker.
Lismore N.S.W. Australia, 19. .
Read Psalm 150. No.
----------------------------------------

JGER
see JAEGER.

JAHAN
Worked at Les Lilas (France), 1925.

JAHN, EMIL O. F.
Born in Germany. Worked at Chicago, 1913-1926.

JAIS, ALOIS
Worked at Mittenwald, 1848. One of the best makers from that busy town. Modelling usually after the traditional Bavarian style. Some later instruments have more of the Italian character. Everything accurately done according to the best principles of constructive art. 90. 1960.

JAIS, ANDREAS
Born 1685. Died 1753. Worked at Mittenwald, 1707-1711; then at Tlz. Highly arched with pretty Stainer outline. Workmanship quite up to the usual standard of his period. Particularly well cut scrolls. Sometimes delicately and elaborately carved fancy heads. Purfling less skilful, and on some specimens ordinary painted lines substituted. Cherry red shade of varnish rather meagre in texture and application. Sweet tone of warm appeal, but not penetrating or bright. 20. Violas and cellos equally interesting. 65, 1960.
Lutes and viola damores rather eagerly sought for.
-------------------------------
Andreas Jaiss Lautten
maker in Tlz. Ao. 1739
-------------------------------
(German lettering sometimes written)
Tlz occasionally given as Tlss.

JAIS, ANTON
Son of Franz. Born 1748. Died 1836. Worked at Mittenwald from 1769. Excellent instruments of their type and period. Had the habitual predilection for the rather high arched Stainer modelbut also produced a few specimens suggesting Amati influences. Outline, sound-holes, and scroll quite splendid. General workmanship satisfactorily delicate and refined. Good acoustical material for top, and frequently prettily flamed for the back. Yellow, yellow-brown and (principally) dark reddish brown varnish of good quality. Rather powerful tone, not remarkably clear, but with a fair measure of mellowness. 25. (1923). Some examples anti-dated 1700. 85, 1960.
----------------------------
Anton Jais, in Mitten
wald an der Iser, 1836
----------------------------
(slight decorative border)

JAIS, FRANZ
Worked at Mittenwald, 1720-1757. Truly remarkable indeed, is the manner in which this maker has identified himself with the Klotz school. Every example displays the full spirit of his model, and the tone has similar qualities. Purfling, sound-holes, and scroll all treated to the most careful attention.
Yellow-brown or brownish red varnish.

JAIS. JOHANN (1)
Worked at Botzen (Tyrol). Born 1732. Died 1780. Son of Franz. Modelling has Albani characteristics with medium arching. Altogether excellent examples of Tyrolese work. Splendid wood in grain, figure, and acoustically. Red brown or yellow brown varnish. Sweet and round tone, smooth and warm. 30. 65, 1960.
----------------------------
Joannes Jais me fecit
Bulsani in Tyroli 1772
----------------------------
(decorative border)

JAIS, JOHANN (2)
Worked at Mittenwald, 1775. Stradivarian modelling in typical Tyrolean style. Wide grain belly wood, rather plain material for back and ribs. Reddish brown varnish, satisfactory tone. 20. 60, 1960.

JAIS, JOHANN (3)
Born 1715. Died 1765. Son and pupil of Andreas. Worked at Tlz. Strong allegiance to the work and style of father. Attractive outline and arching. Workmanship not always neat, and not faultless. Specialised in fancy heads, some of quite unique design. 75, 1960.
--------------------
Johannes Jaiss
Lauten
macher in Tlz
1762
--------------------

JAMES, RHYS PRICE
Born 1909 at Blaengarw (Wales). Ex-miner. Invalided out of the 1939-1945 war, and in 1946 found employment at the Remploy Factory, Bridgend. Learned the art of violin making from G. Schliepps, an Estonian violin maker who had settled in Wales. Became such an apt pupil that he eventually took charge of the violin shop at Bridgend where they turned out instruments at the rate of about 22 weekly. He then began to make violins at home, and one was exhibited at the Arts and Crafts Section of the Royal National Eisteddfod of Wales held at Bridgend in 1948. Greatly interested in repairing old violins and has done some very fine work for many prominent South Wales players. Followed the Guarnerius and Strad models, and hundreds of violins made under his supervision have been supplied to schools throughout the country.

JAMES, STEPHEN
Resident at Bristol, 1806-1835. Fair handling of Amati characteristics.

JAMIESON, THOMAS
Pupil of Cramond. Worked at Aberdeen, 1830-1845. Good modelling adorned with neat workmanship, brilliant yellow varnish, much tonal bloom.

JAMIS, GABRIEL
Born 1903. Worked with G. Apparut. Associated with Gaston Meyer. Specialist in making replicas of the Widhalm violins, yellowish red varnish. Branded G. Jamis et G. Meyer. Mirecourt annee, 1919. No. . . Also labelled Modele exposition.

JANES, MARIO
Worked at Trieste, 1809. Later at Polcenigo (Udine). Exhibited a violin at Cremona, 1839.

@ JANI, JOHANN ERNST
Worked at Hamburg, 1735-1742. Modelling reminiscent of the Dutch school, with slight traits of the Amatese. Most picturesque material for backs. Brown varnish of thick constituency.
-------------------------------------
Hamburg 1739.
Johann Ernst Jani
fecit ad modum Cremonensis
-------------------------------------

JANICKI
Worked at Warsaw, 1812-1846.

JANINET
Civil engineer. Resident at Haguenau (France). Patented a new mode of constructing the resonance tables of stringed instruments, 1850.

JANICKI, JOSEF
Worked at Vienna, 1885. Violins, violas, and cellos. 65, 1960.

JANOS
Hungarian Christian name. Sometimes placed after the surname on some labels

JANOT
Principally a guitar maker. A few violins are known.
----------------------------------
Janot Luthier
Rue Merciere a Lyon. 1824
----------------------------------

JANSKY, FRANZ
Worked at Leitmeritz (Bohemia). Made a few violins and cellos of very ordinary workmanship, dark brown spirit varnish of slight attractiveness. Especially noted for fine double basses.
-----------------------------------------------
Franz Jansky
Gurgerl: Instrumentenmacher
Dominikauer Gasse, Leitmeritz, 1750
----------------------------------------------

JANSON, EDWARD POPPLEWELL
Worked at Leeds and Manchester, 1840-1875. Truly superb modelling of Italian prototypes, every detail of workmanship reaches a high level, warm looking varnish which engenders a reverential feeling on our part for the artistry of its application. Tone almost ideal. Many specimens re-labelled with Italian names.
-------------------------------
Edward P. Ianson, Fecit
Manchester. Anno 1872
-------------------------------

JANSSON, ANDERS
Born 1873. Amateur at Mattmar (Sweden). Pupil of Kjellin. Won medals at Stockholm (1925) and Sundsvall (1928). Violins, viols, flutes and clarinets.

JANSSON, CARL
Worked at Hgvalta Arvika (Sweden), 1895-1925. Violins, cellos, and guitars. Nothing irrational or contrary to established rule in outline and arching. Scroll and soundholes splendidly agree with general scheme. Wood chosen with judgement, and varnished in common-sense manner.

JANSSON, CARL HENDRIK
Born 1892. Amateur at Alvkarle (Sweden).

JANSSON, WILLY
Born 1902. Amateur at Krrgruvan (Sweden). Excellent violins and cellos with a partially brilliant tone.

JANUARIUS, JACOBUS
Proper name, Giacomo Gennaro. Pupil of Nicola Amati, worked at Cremona, 1641-1654. Few specimens known. Name almost lost through false ticketing of more well-known makers. Fine Amatese outline and scroll. Warm shade of golden-brown varnish. Tone reaches a high level of quality and superb evenness. Body length, 13-7/8; upper bouts, 6-3/8; middle, 4.7/16; lower, 7-1/8.
One in possession of the Editor. 850, 1960.
----------------------------------------------
Iacobus Ianuarius Cremonensis
Alumnus Nicolai Amati faciebat 1653
----------------------------------------------

JANY, JACOB
Worked at Vienna, 1800. Well constructed instruments though of ordinary design and workmanship. Good belly-wood with backs of plain material. Yellow-brown varnish moderately transparent.
------------------------
Jacobus Jany
fecit Viennae 1801
------------------------
(written)

J. A. R.
brand of Johann Adam Reichel.

JARASCH, ANTON
Worked at Reinsdorf (suburb of Vienna), 1800-1838. Modelling well naturalised to the type known as the Viennese. Workmanship without magnetism, but wholly good. Golden-brown varnish of rich shade. Backs frequently of irregular flame material, sometimes very pretty. Tonal quality of sober brilliancy and halfmatured warmth. 12 (1930). Double basses highly appreciated.
--------------------------
Anton Jarasch
in Wien. Anno 1816
--------------------------
(with A.J. elaborately designed)
------------------------------
Anton Jarasch
in Reinsdorf Anno 1830
nchst Wien
------------------------------

JARINO
see SGARBI.

JARNAGAN, EDWARD WALTON
Born at Muskogee (Oklahoma), 1870. Resident at Mckinney (Texas), 1915-1923. Produced 20 violins yearly. Strad model with oil varnish of various shades. Inventor of an appliance which tunes the violin soundlessly.

JARNAK, POUL
Danish maker of violins, violas and cellos (20th century). First-class workmanship and varnish. Rich, mellow tone.

JASPIN
Contra-bassist in opera orchestras at Paris, 1800-1830. Made several cellos and double-basses (the latter of unique design), all treated to masterly craftsmanship.
-----------------
Jaspin
rue du bar 38
Paris 1819
----------------

JAUCH, ANDREAS BALTHASAR
Born 1701. Died 1785. Worked at Dresden. Maker to the Court. Modelling belongs to the Cremonese school, but a few specimens have Stainer characteristics. Altogether refined workmanship. Graduating and thicknesses of wood scientifically proportioned. Wood quality variable, but generally of fair excellence. Amber varnish of splendid texture. Tone often mellow, somewhat of Italian quality, but sometimes weak in sonority. Produced pretty theorbos. Body of 15 strips of red brown cypress wood, neck and peg box black, pretty angel head, 3 peg boxes, 24 pegs and 1 rosette. Body length, 56 cm., greatest breadth, 34.7. Labels usually written, sometimes signed with name:-
-------------------------
Andreas Jauch 1754
-------------------------
----------------------------------
Andreas Jauch Hoff Lauten
macher in Dresden 1757
----------------------------------
----------------------------------------
Andreas Jauch Hof Instrumenten
macher in Dresden. Ano 1770
----------------------------------------

JAUCH, AUGUSTIN IGNAZTIUS
Born 1749. Worked at Dresden until 1812. Son and successor of Andreas. Made stringed instruments and claviers for the Court of Saxony. Some excellent violins of Strad modelling, fair workmanship, not particularly ambitious varnishing, but refreshing tone.

JAUCH, JOHANN
Worked at Dresden, 1735-1762. Not to be confused with Johann Jauck at Gratz. Not notable highlights in Cremonese modelling but of brisk tone which has induced fanciful prices from certain advocates of the Austrian school.
-----------------------------
Joannes Jauch me fecit
Dresde Sa Anno 1741
-----------------------------

JAUCK, JOHANN
Born at Gratz (Styria). Worked there, 1732-1760. Followed the Tyrolian-Stradivarian model, an alluring outline with medium arching. Workmanship very well finished, particularly the edges. Wood not to be disparaged and though often of slight flame, is generally of pretty effect. Excellent scrolls, sometimes ingeniously carved figures. Golden reddish brown varnish often plentifully applied, certainly rich in colour and texture. Though showing that he had all necessary wisdom in correctly working out various thicknesses of wood and inner proportions, the tone is untinctured with that beautiful colour of mellowness which is such a source of joy to performers and often remains shrill and rather weak. Some of his instruments perhaps not quite within the province of this criticism, have realised 50. Produced several viol damours.
------------------------
Joannes Jauck fecit
Graecii Anno 1735
------------------------
------------------------------
Johannes Jauck me fecit
Anno Graecii 1758
------------------------------

JAUCK, JOHANN GEORG
Worked at Gratz, 1752-1790. Stainer modelling. Not enhanced by especially good workmanship. Wood generally of fair quality, often rather plain. Scroll of pear tree wood. Brown varnish not particularly lustrous. Tonal quality often quite mellow. 25.
--------------------------------
Johann Georg Jauck, fecit
Graeci. 1786
--------------------------------
------------------------------
Georgius Jauck me fecit
Graecij Anno 1752
------------------------------

JAUDT, ANTON
Born at Munich. Worked at Freissing, 1835. Later at St. Petersburg. Modelling carried out with considerable assurance. Rather persuasive tone.
---------------------------------------
Anton Jaudt aus Mnchen
verfertigt in St. Petersburg 18. .
---------------------------------------

JAUME, BENITO
Worked at Barcelona. Died 1917. Double basses and violins.

JAURA, FERDINAND
Born 1892. Apprenticed to Uncle Wilhelm, 1905. Worked at Vienna, 1917. Established at Munich, 1940. Made 1,500 instruments - viols, guitars, lyres, and all the bowed variety. Violins of exemplary tastefulness in neat workmanship. Especially interesting viol damours and viol-da-gambas. 80, 1960.

JAURA, KARL
Second son of Wilhelm Josef (guitar maker). Born at Vienna, 1866. Especially clever in the construction of cellos. Exceedingly nice aggregation of Cremonese traits in outline and arching.

JAURA, WILHELM THOMAS THEODOR
Eldest son of Wilhelm Josef. Born 1863. Died 1922. Pupil of father. Worked with Gutermann for 21 years; established own workshop, 1898. Skilful copyist of Italian masters. Proportions of painstaking exactitude. Workmanship practically flawless. Scroll highly inviting to the eye, graceful rather than of formidable dignity. Sound-holes and purfling equally praiseworthy. Pretty oil varnish of various shades. Tonal quality appreciated by Austrians. Constructed 300 violins, 80 violas and 150 cellos. Latter especially noteworthy.
-----------------------------
Wilhelm Thomas Jaura
in Wien fecit anno 18-
-----------------------------
(prettily scrolled in olden style, i.e. jus a few graceful curls)
-----------------------------------
Wilhelm Thomas Jaura
K.U.K. Hof. Geigenmacher
in Wien
opus 142 fecit 1908
-----------------------------------
(bearing design of the Austrian double eagle in centre)
Instrument maker, etc., to the Viennese Court. Very important member of the Violin Makers Guild. For some years recognised as the principal connoisseur in Vienna. Recipient of decorations and medals. 80, 1960.

JAYWORSKI, FRANZ
Butcher. Born at Danzig, 1862. Had ambitious intentions from 18th year in violin construction. Three models - Stainer, Amati and his own. Used old maple and Bohemian fir tree wood. Had a playful fancy for carving faces on the heads.

JAY
Amateur. Resident at Newcastle-on-Tyne, 1850. Produced several violins for which he refused to dispose of even for 100. Must have been a wealthy enthusiast.

JAY, HARRY B.
Established at Chicago (U.S.A.), 1923.

JAY, HENRY
Worked in London, 1615-1667. Made several viols now converted into small cellos. Skilful workmanship, splendid design. Interesting scroll and purfling especially fine. Varnish of rich texture, warm colour, well applied. Genuine sonority of tone though not strong. Also known for a few cleverly worked lutes. 90, 1960.
-------------------------
Henry Jay
in Southwarke 1667
-------------------------

JAY, HENRY
Worked in London, 1740-1776. Made a large number of dancing masters kits. Several violins of graceful modelling. Tonal quality valued at 40 (1925). Reddish brown varnish, very attractive. Cellos of particularly well developed arching. Small pattern generally. Fine workmanship, scroll outstandingly so. Backs some times of one piece plain material. Early dated specimens have a really extraordinary, deep purple plum colour varnish, later ones often brownish red.
-------------------------
Made by Henry Jay
in Long Acre, 1742
-------------------------
-------------------------------------
Made by Henry Jay
in Windmill Street
near Piccadilly, London. 1768
--------------------------------------
Some signed Longman and Broderip on the back. Others have H. Jay written in ink on belly under fingerboard. 95, 1960.

JAY. THOMAS
Worked in London, 1690-1720. Here we gaze on honest true bred English violins of the period. Smallest outline and medium arching. Workmanship is nicely finished as the model is graceful. Tone rather small but decidely of pleasing sweetness. 100, 1960.

J. C. F.
brand of Johann Christian Ficker.

J. C. S.
brand of J. C. Schneidenbach.

J. C. V.
brand of J. C. Voigt.

JEAN, F. S.
Worked at Mirecourt and Paris, 1830-1850. Rather unbridled Stradivarian modelling, but of decent workmanship. Handsomely figured wood, dark brownish yellow varnish, applied with little disrespect to art. Tone not luminously clear but strong and orchestrally suitable. 15 (1925). Branded F. S. Jean - square lettering.

JEANDAT, EMILE
Born 1897. Pupil of Mangenot. Established at Mirecourt. Violins at which the maker must often have looked with pride. Superb Strad modelling, and splendid oil varnish. Cellos similarly attractive. 80, 1960.

JEANDEL, GEORGES
Born in Lorraine, 1839. Pupil of N. F. Vuillaume at Brussels. Worked with Victor at Lige.
---------------------------------
Georges Jeandel
Luthier Lige 1866
lve de Vuillaume No. 20
---------------------------------

JEANDEL, PIERRE NAPOLON
Born at Courcelles-sous-Vaudemont, 1810. Gained experience in the workshop of Charotte at Mirecourt, 1830-1836. Established at Rouen, 1837. Died 1878. Suffered, in later years several pecuniary misfortunes and indifferent health. Descended to great poverty and died in the workhouse. Recipient of diplomas at Rouen and Paris. Large, broad and flat modelling distinctively Mirecourtian. Fairly good workmanship though slightly heavy handed. Attractive wood sometimes too plentifully used. Scroll of well conceived dignity. Dark reddish brown varnish on yellow ground of thickish texture and without transparency. Sound-holes well positioned; regular purfling. Tonal quality sonorous and loud but never clear and silvery and certainly without mellow warmth. Specimen realised 1,000 francs at Paris (1928). Produced a few large, flat modelled cellos.
Jeandel written in ink on the back, inside.

JEANDEL, VICTOR
Born 1814. Worked at Lige (Belgium). Died 1860. Uncle and teacher of Mougenot who subsequently became his successor. Violins (in Mirecourtian style) of the finest and most symmetrical design that only a perfectionist can conceive. Brilliant varnish, pale red with yellow ground. Signed with pen or pencil.

JEFFREY, JOHN
Born at Cirnside (Berwickshire), 1841. Died there, 1918. Amateur enthusiast and treated his hobby reverently. Made about 50 instruments. Early specimens modelled after the Amati. Later, Stradivarius, Guarnerius and Maggini (single purfling). Also a few of Guarnerius outline with Maggini body length. Outline perfect in every instance, and splendid arching. Workmanship absolutely flawless. Scroll not large or robust, very prettily conceived. Sound-holes entirely harmonious with the entire. Belly wood of Californian canary pine, strong in fibre and magnificently regular. This wood, being hard, also made the purfling more difficult, but here the worker finely triumphed. Likewise enabled him to make the plates thinner than with ordinary pine and the easily free and brilliant tone must be attributed to this agency. Backs of finely marked sycamore, mostly grown locally. Earlier violins varnished with a spirit preparation of his own, dark brown, very flexible but soon became chippy. Later works varnished with that made by George Fry of Berwick, a lovely oil varnish in golden yellow, orange red and brownish red shades. Tonal quality very resonant and really splendidly full. As good and perhaps better than many of the Italian instruments not built at Cremona. Inside work very finely arranged and most carefully finished. 65, 1960.
----------------
John Jeffrey
Chirnside
1890
----------------

JEFFREYS AND SONS
Established at Maldon (Essex), 1906-1927. Instruments made with the expert assistance of A. E. Smith, who emigrated to Australia in 1909. Ceased production, 1927. C. W. Jeffreys in early life made several ambitious attempts in violin construction.

JELLIGA, GEORGE J.
Born at Habovfka (Czech.), 1893. Son of an amateur violin maker. Worked in several Austrian cities. Resident at Minneapolis, 1935. Violins, violas and cellos of superfine workmanship and firm tonal quality receiving high commendations from important players. Varnish made from rare gums gathered from the mountainous district of Czechoslovakia, penetrates completely through the wood; an oil varnish of secret formula, shades from yellow gold to dark brown.

JENKINS, THOMAS
Born 1819. Resident at Haverfordwest (Wales). Cellist and vocalist at the local church. Died 1890. Made a large number of instruments various models, well thought out designs receiving enthusiastic amateur workmanship.

JENKS, EDMUND B.
Born 1863. Resident at Whitney Point (N.Y.), 1935. Amateur. Original model having Guarnerian and Strad traits. Inventor, 1938, of a model bass bar, favoured by a good number of makers in America and Europe.

JENSEN, CARL
Worked at St. Paul (Minnesota). Little known.

JERMY, ARTHUR
Born 1867. Resident at Kingsland (near London). Conscientious workmanship.

JERNER, JOHAN
Born 1755. Established at Stockholm, 1780. Died 1820. Many finely decorated lutes and viols preserved in museums. Also a few well made violins known.
----------------------
Johan Jerner
Stockholm. 1819
----------------------
-----------------------------
Forferdigadt af, Johan
Jerner. Stockholm 17. .
-----------------------------

JERVIS, FRANK
Worked at Belfast, 1800. Excellent Amatese modelling, neat workmanship, transparent brown varnish.

JERZSBEK, BONIFO
Worked at Budapest, 1886-1930. Good workmanship and varnish.

J. F. R.
brand of J. F. Reichel.

J. G. F.
brand of J. G. Fleck.

JIROWSKY, ANTON
Born at Vienna, 1877. Worked nine years with Thomas Zach; and six years with Ignaz Lutz and Haudek. Established own workshop in Vienna, 1902. Violins built entirely on the form and principles of those of Zach. All details of workmanship perfect. Beautiful wood and pretty red varnish. Tonal quality appreciated by Viennese orchestral players. Gave, in 1924, more attention to the production of guitars, old Viennese and Spanish forms. Invented a new guitar form, largely based on the regulations and ground work of the violin. Resonance body of customary outline, finely conceived but with body and back arched. Also two cleverly arranged violin shape sound-holes. Long bass bar, soundpost and movable bridge. Made interesting innovations concerning the fingerboard, which have attracted the virtuoso players. Body length 48 cm; breadth 36. Also produced lutes and mandolines. Recipient of several medals and diplomas. One of the principal members of the Vienna Guild. 100, 1960.
--------------------
Anton Jirowsky
Geingenmacher
Wien. 1909
--------------------

J. K.
brand of Joseph Keffer.

JOACHIM
Name of trade violins and bows made by Roth and Lederer at Markneakirchen, 1890. Named after Joseph Joachim (famous classicist in violin playing).

JOANNIS
Decorative painter at Parisian Theatres, 1822. Interested himself in the art of violin building.

JOHANNESIN, CARL
Born in Norway, 1869. Little known.

JOHANSSON, ANDERS
Born 1877. Amateur at Nsinge (Sweden).

JOHANSSON, ANTON RUDOLF
Born 1891. Amateur at Arboga (Sweden).

JOHANSSON, ERNST GUSTAF
Born 1904. Amateur at Tranas (Sweden).

JOHANSSON, F. A.
Born 1862. Amateur at Wallentuna (Sweden).

JOHANSSON, GUSTAV
Born 1885. Amateur at Vsters (Sweden).

JOHANSSON, NILS
Born 1898. Amateur at Daka Jrna (Sweden).

JOHANSSON, HARRY
Born 1907. Amateur at Brnnarp (Sweden).

JOHANSSON, J. G.
Born 1901. Amateur at Tandsjborg (Sweden).

JOHANSSON, KLOCKAR OLAF
Born 1862. Amateur at Dalarna (Sweden). Died 1940. Carefully made violins, splendidly carved scroll, reddish brown varnish. Signed on the wood, inside.

JOHANSSON, KUNO
Born 1877. Amateur at Uddevalla (Sweden). Won bronze medal at Stockholm, 1925.

JOHANSSON, STEN JOEL
Born 1920. Resident at Svanshog (Sweden). Generally Strad modelling, sometimes with much ornamental inlay of ebony, also on sides and scroll. Body length 356 mm; upper breadth, 166; middle 108; lower 206; ribs 31; Oil varnish with sealing wax, reddish brown to orange yellow. First instrument dated 1936.

JOHNSEN, E.
Worked at Stenkjedalen (Norway). Maker of rustic fiddles known as the Hardangerfele.
-------------------------------
Ellef Johnsen, Norge.
Stenkjedalen. Bv. 1861
-------------------------------

JOHNSEN, HANS AND SON
Established at Tuddai (Telemarken district, Norway), 1926. Makers of rustic fiddles, also ordinary violins.

JOHNSON, FREDERICK L.
Violinist. Resident at Boston (U.S.A.) Died 1945. Made about 200 instruments, splendid workmanship and very satisfactory tone.

JOHNSON, JOHANNES AUGUST
Born at Herro, Helgeland (Norway), 1892. Studied the art of construction with Pederson at Clearbrook (Minnesota). Resident in the same town, 1925. Produced first instrument, 1912. Accurate modelling from a Stradivarius dated 1712. All details show perspicacity of his mind and cogency of hand. Golden red and reddish brown varnish. Tonal quality refreshingly clear and sonorous.

JOHNSON, JOHN
Worked in London, 1750-1762. Stainer modelling though perhaps the arching is very slightly reduced. Large pattern and heavy looking for that particular type. Margins very narrow and sharply prominent from the groove encircling the instrument. Edges slight and flattish, corners rather stunted. Scrolls often clumsy, reducing with unblushing effrontery what should be gracefully artistic, to common ineptitude and sometimes complete ugliness. Sound-holes rather straight, fairly wide and generally not well finished. Belly often badly damaged. Backs generally of two pieces and of nicely flamed material. Often painted lines instead of purfling. Thin and dry varnish, originally yellow now golden brown, looking fairly good on the back but often streaky on the front. Interior work not so mediocre. Tonal quality usually fairly strong and penetrating but rather shrill and nasal at times. 40 (1925). A few isolated examples known which are of more careful workmanship and being in good preservation, have an appearance not to be despised. One such was sold for 80 in America, 1928. 90, 1960.
---------------------------
Sold by John Johnson
Cheapside. London.
---------------------------
------------------------------------------------
Made and sold by John Johnson
at the Harp and Crown in Cheapside
17 London 53
------------------------------------------------

JOHNSON, PETER ANDREAS
Born in Sweden, 1874. Migrated to America. Settled at Aurora (Ill.) Strad and Guarnerian modelling, absolutely without innovated vagaries. Tone quality nicely avoiding the often phlegmatic emission of many new violins. Made about 500.
------------------------
P. A. Johnson
Maker
Aurora. Ill. U.S.A.
1928. 9-30
-----------------------

JOHNSONS VIOLIN SHOP
Established at Allentown, Pa. (U.S.A.) in 1951. Violins and all accessories.

JOHNSTONE, WILLIAM JOHN
Born 1880. Resident at Edinburgh. Achieved considerable prominence throughout Scotland and England, 1928. Stradivarian and Guarnerian modelling, every detail finished with loving care. Brown or brownish red shades of varnish offering attractive plasticity.
---------------------
W. J. Johnstone
Edinburgh, 1929
---------------------

JOMBAR, PAUL
Born at Paris, 1868. Pupil of Audinot, 1882-1886. Worked for Gand and Bernardel; established own workshop, 1892. Decorated Chevalier de la Lgion dHonneur, 1901. Died 1949. A fine maker, who, with sound thought and study, made successful departures from the authority of tradition, but always with judicious skill and sense. Perfect workmanship. Modelling as elegant as anyone can desire. Contributed examples that will compare, without danger of criticism, with the best French makers of the past, and ought to give an object lesson to any young aspirant in violin construction. No little point overdone. Varnish brought alive with much persuasiveness. Beautifully clear tonal quality, and sufficiently powerful to give the possessor of one of these instruments every reason to be proud of his property. 600, 1960.
-------------------------------------
Paul Jombar
20 rue Rochechouart. Paris.
19. an. 1899
-------------------------------------
(with monogram within a circle on the right)
-----------------------
Paul Jombar
Luthier Paris
No. . . . . an. 19. .
-----------------------
(prettily scrolled, monogram at the top)
-------------------------------------
Fait sous la Direction
de Paul Jombar. Luthier
20 Rue Rochechouart Paris
-------------------------------------
(for instruments made by his workmen)
Also produced many bows highly esteemed by the French.

JOMIER, NICOLAS
Worked at Mirecourt, 1761-1781. Violins reminding of the large and broad Klotz model. Amatese sound-holes, slender purfling, two-piece backs of undulating flames. 10, 1925. 65, 1960.
Branded -
------------
Nicola
JOMIER
------------

JOMIER, NICOLAS
Worked at Lyons. Instruments by a maker whose talents were not fully developed in workmanship.
-------------------
Fait par Jomier
Lyon. 1827
------------------
(written)

JONES, DAVID
Resident at Merthy Tydfil (Wales), 1800. Clock-maker and constructor of mechanical playthings. Produced several violins of very ordinary design and varnish.

JNSSON, A.
Born 1873. Clock-maker at Mattmar (Sweden). Pupil of Kjellin. Won silver medals at Ostersund (1920), and Stockholm (1925). Well constructed violin and violas. Scrolls always well posed.

JNSSON, ALGOT
Born 1891. Amateur at Ljusdal (Sweden). Won bronze medal at Stockholm, 1925.

JNSSON, C. O.
Born 1859. Worked at Halsingborg (Sweden). Died 1931. One of the best in that country. Splendid Strad modelling, good scroll, very graceful sound-holes, refined workmanship and fairly rich golden red varnish.

JNSSON, ERIK
Born 1873. Resident at Arbr (Sweden). Won silver medals, 1948. Made about 100 violins, many of them considerably esteemed in his country and Finland. First-class Strad modelling.
----------------
Erik Jonsson
Arbr ----------------

JNSSON, JONAS HOLGER
Born 1908. Amateur at Hg (Sweden). Well conceived designs, usually Stradish.

JNSSON, KONRAD
Born 1901. Amateur at Ljusdal (Sweden).

JOR, SAMUEL F.
Worked at Chicago, 1920. Various Italian models. Also maker of a special varnish which has many advocates in U.S.A.

JORDAN, J. M.
Little known work. Amateur.
-------------------------
Joh. Michael Jordan
Neukirchen 1824
-------------------------

JORGENSEN VIOLIN SHOP
Established at Salt Lake City (Utah, U.S.A.), 1926. Two brothers who made violins, cellos and basses. Oge Jorgensen, born at Brigham City (Utah) 1888, and Val Jorgensen, born 1885. Both started as amateurs. First instrument dated 1914. Produced about ten yearly. Design and treatment deserving of the best consideration from the excellent manner in which the various small details are subordinated to the general effect. Also a little thought is given to the player by making the foot of the neck comfortable to handle. Modelling belongs to that of a Guarnerius. Golden-yellow, light-brown and reddish-brown shades of varnish, each a splendid example of well combined colour. Used wood, since 1926, collected from the west coast of Canada, which (they assert) is not only prettier than the European, but superior acoustically. Tone compares favourably with that of any first-class American violin.
--------------------
Jorgensen
Salt Lake. Utah
--------------------

JORI, ENEA
Born 1891. Worked at Modena, 1925. Made about 80 violins up to year 1950. Good modelling and transparent varnish of dark shade. Also cellos and double-basses. Assisted by son Orlando (born 1915).
--------------------
Jori
fece in Modena
1949
--------------------
--------------------
Jori Orlando
Fece in Modena
1950
--------------------

JORI, LEANDER
Worked at Sesso (Italy), 1829. Died 1880. Generally Stradivarian modelling. Style and workmanship commercial if not mediocre. Common looking varnish of various shades. 10.

JORIO, VINCENZO
Worked at Naples, 1830-1850. A maker of extensive knowledge who, however, did not treat all instruments effectually towards attaining a fine tone, as he sometimes departed too freely from the geometric basis of the design as a whole. Very thoughtful and facile workmanship. Sound-holes and scroll treated with skill, and nicely designed. Large pattern, and judicious restraint in the arching. Usually medium grain spruce, and handsomely figured maple. Rather attractive yellow or golden red varnish. Tone never really satisfactory because of the previously mentioned little trips away from the purest principles of art. 600 dollars has been attached by American dealers to fine specimens, but we have not seen an example for which we should feel inclined to give more than 30 (1930). Postiglione was his best pupil.
--------------------------------------
Vincenzo Jorio
Fabricante
di Stromenti Armonici
Strada S. M. la Nuova. No. 21
Napoli. 1833
--------------------------------------
(ornamental; three types of lettering; printed on yellow paper, sometimes without border)
S.M. - abbreviation of Santa Maria.
----------------------------
Vincenzo Jorio
Fabricante
di Stromenti Armonici
Neapoli. 1849
----------------------------
(on yellow paper)
Also made several excellent violas, valued at 40 (1932).
Brownish yellow varnish. Average dimensions: body length, 15-1/8 upper bouts, 6.15/16; lower bouts, 8-5/8. 125, 1960.

JORNINI ED FIGLIO
Stringed instruments of all kinds. Actually made at Milan.
-------------------------------
Antonio Jornini di Enrico
in Secondigliano (Napoli)
193
-------------------------------

JRSTAD, T. T.
Norwegian maker of Hardanger fiddles, some with heads sculptured in bronze.
----------------------------------
Forarbeidet af
Instrumentmager
Torlief T. Jorstad
Ostre Slidre, Valdres, 1898
---------------------------------

JUBB, WILLIAM
Violin and cello maker, repairer, restorer and craftsman. Established at Horsforth, Leeds, 1936.

JUDGE, MICHAEL J.
Born at Dublin, 1886. Design freely original and successfully so. Sound-holes at least 5/8 of an inch longer than customary. Purfling almost as broad as that of a cello. Brown and orange shades of spirit varnish. Tonal quality above the average in resonance and sympathy, and is appointed to irradiate itself and acquire dominion in future ages.
------------------------
Michael J. Judge
Fecit
Dublin. June 1924
-----------------------
Gained highest award at the Royal Dublin Society Exposition, 1923.

JUHAN, JAMES
Frenchman. Announced in Boston Weekly News, 1768, that he taught music and dancing, also made violins and bows (equal to those imported), and later, that at one of his concerts all the violins of the band were made by him. Probably the first violin maker in America as he lived at Philadelphia, 1783.

JHLING, FRANZ
Head of a large firm who have built up an extensive export trade to all parts of the universe. Born 1838. Established at Dresden since 1880. Worked until 1906. Commercial instruments of highest grade. Splendid in design, workmanship, and varnish. Gold medals at Paris and Brussels. Made interesting discoveries in the problems of varnishes. Activities extended to string-spinning, workrooms fitted with electrical appliances, etc. Very popular are the Juhling Testudo Lutes of seven strings.
----------------------------------
Franz Juhling
Streichinstrumentenmacher
Dresden
----------------------------------

JUKES, N.
Tinsmith. Resident in Birmingham, 1923. Roughly constructed and inelegant violins. Scroll and sound-holes especially jagged. Brownish yellow varnish of fair quality. Branded N. Jukes on top of back, the same written in ink inside.

JULIANO, FRANCESCO
Name variously given as Giugliani and Giuliano. Worked at Rome, 1690-1730. Modelling not generally accompanied by any special agency of elegance. More Tyrolean than Italian in style. Workmanship very variable, sometimes rather good, other times unexpectedly slovenly. Body length, 13-1/4 inches. Occasionally Guarnerian sound-holes, even to placing one very slightly lower than the other. Several nondescript violins treated to a Juliano label by certain vendors, and sometimes anti-dated 80 years or so.
---------------------------------
Francesco Juliano in Roma
1725
---------------------------------

JULIEN
Theatre violinist at Paris, 1821. Amateur maker.

JUNG, CURT
Born 1899. Pupil of Adolf Hammig. Worked for Otto Mckel at Berlin for 12 years, and succeeded him, 1937. Splendid copying of the various Cremonese.
-------------------------
Curt Jung
fecit Berlin A.D. 19
-------------------------
(prettily scrolled)
Branded on the back and sides with a three-branch floral design.

JUNG, EDUARD
Born 1849. Chief of the Army Corps at Garsten (Tyrol). Made several violins, workmanship not marred by any amateurish incapability, and having a tone (according to local reports) of such sonority that performers and listeners were sometimes moved to tears.
-------------------------------------------------
Eduard Jung
K.K. Inspector der Strafanstadt Garsten
fecit 1900. No. 27
-------------------------------------------------

JUNGMANN, DESIDERIUS KARL
Resident at Berlin, 1943.

JURGENS, GERHARD
Worked at Hamburg, made violins and guitars. Good workmanship.

JUZEK, JOHN
Guarnerian outline, sound-holes slightly elongated. Scrupulously cut Stradivarian scroll. Rather soft golden brown (with a touch of red) varnish. Bright and large tone.
-------------------------------
John Juzek
--------
JuZek
--------
Violinmaker in Prague
May 2. 1920
Made in Czechoslovakia
------------------------------
(with signature)