NADGNINI, ALEXANDRA SALVATORE
Born in Italy. Emigrated to Russia. Worked at Brovarki, 1880. Good instruments, orange-brown varnish.

NADGNINI, LONIDAS
Born at Brovarki (Russia), 1881. Pupil of Spidlen at Moscow. Established at Paris, 1912.

NADGINI, LONIDAS
Working in the rue de Vanves, Paris, 1925. Violins of superb Stradivarian modelling, imprinted with originality and robustness, grand characteristics. Built on deep study of acoustics and by full capacity of craftsmanship. Irreproachable and seductive orange-brown or brown varnish, a delightful reflection of the Cremonese. Tonal quality of brisk and strong sonority, prodigiously easy emission, and rare homogeneity of the four strings, qualities to be appreciated by virtuosi. Violas constructed on the suggestions of Maurice Vieux (viola-professor at the Conservatoire) creations which have definitely settled the controversy concerning dimensions and form (at any rate in France) - magnificent productions of Stradivarian outline and arching. Double-basses after the Santo Seraphino style. Established a School for violin making, pupils taught to work on Cremona traditions and to attain as near to perfection as possible.
----------------------------
Lonidas Nadgini
205ter Rue de Vanves
Paris 1927
----------------------------
(L.N. on left - signature on right)

NADOTTI, JOSEPH
Worked at Piacenza (Italy), 1757-1789. Not especially distinctive, but good modelling, generally somewhat of the Amati. No trace of labour about the scroll, and no evidence of any indulgence towards originality in the sound-holes. Yellow or golden-brown varnish of superior quality. Under careful management the sweetly-round tone, has considerable strength of penetrating quality. 350, 1927.
--------------------------
Joseph Nardotti fecit
Placentiae 1757
--------------------------
(beautifully scrolled)
-------------------
Joseph Nadotti
Placentie 1768
-------------------
(straight decorative border)
----------------------
Giuseppe Nadotti
Plaisanne, 1760
---------------------

NAESE, GUSTAV
Worked at Dresden, 1873-1899. Few instruments. Ordinary workmanship and tone.

NAFISSI, CARLO
Worked at Gubbio (Apennine mountains), 1867. Design and workmanship wholly amateurish.

NGELI (NGELIN), CONRAD
Worked at Constanz (Baden), 1797-1830. Modelling reminiscent of Wagner. Pronounced arching, and workmanship just passable. Wood frequently vitiated by chemical or heat process. Tonal quality often unpleasantly nasal.
---------------------------------
Conrad Ngelin
Geigenmacher in Constanz
---------------------------------
(printed)
-----------------------------------
Conrad Nageli, Instrumenten
macher in Constanz 1815
-----------------------------------
(engraved, and bearing a pretty design of a violin and lute crossed at the necks)

NAGY, FRANZ
Worked at Budapest, 1840-1847.
---------------------------------
Franz Nagy
Lauten und Geigenmacher
in Pest 1844
---------------------------------

NAGY, ISTVN (STEFAN)
Born at Szent Mria-Szabadka, 1841. Sculptor and instrument maker. Settled at Budapest, 1883. Exhibited a violin of unique and original design, 1885.

NAGY, JOHANNES
Worked at Budapest, 1797-1807. Free conception of the Maggini caracteristics, also Stradivarian and Amatese modelling. Workmanship extremely well done. Varnish not less commendable. Tonal quality substantially forcible and of viola depth.

NAGY, JOSEPH
Worked at Budapest. Died 1860. Few violins - principally viols.

NAIRZ, GOTTFRIED (1)
Born 1873. Worked at Munich. Died 1927.

NAIRZ, GOTTFRIED (2)
Born 1907. Son of (1). Worked at Munich.

NAIRZ, JOSEPH (1)
Born 1830. Worked at Munich. Died 1896.

NAIRZ, JOSEPH (2)
Born 1868. Worked at Munich. Died 1944.

NAISBY, LAURENCE
Established in Liverpool, 1929. Maker and restorer.

NAISBY, THOMAS HENRY
Born 1878. Died 1927. Resident at Sunderland (Durham). Plasterer by trade, also a professional footballer. Self-taught in violin structure. Grand-Amati modelling, entitled to praise, though not exhibiting transcendent qualities. Workmanship deserves more than niggardly praise, and has enthusiasm stamped all over it. Red and golden shades of varnish which must be described as mediocre in quality and application. Tonal quality of reasonable roundness.

NAIZAR, M.
Worked at Mirecourt, 1790-1840. Large and broad modelling somewhat after the Nicolas style but slightly more commonplace. Corners, edges, and scroll quite heavy-looking. Nothing of sufficient interest to induce a desire to possess a specimen. Wood prematurely aged. Further degraded by an obtrusively dirty yellowish varnish. Tonal quality blatant and unsympathetic. 10. Name branded.

NALEN, PER
Born 1862. Amateur at Helgum (Sweden).

NALINOV, S. I.
Worked at Tver (Russia), 1880-1910. Principally balalaikas, and a few yellow varnished violins with bevelled edges.

NAMY, JEAN THODORE
Worked at Paris, 1755-1807; first for the widow of Salamon; and in the Place du Louvre, after 1783. Had a remarkable reputation as a restorer of the most indifferently made instruments, enhanced their tone and appearance, and triumphantly received the highest enconiums from the remotest parts of Europe. His own few instruments afford the most pleasurable sensations. Outline, arching, and sound-holes executed in accordance with Stradivarian delicacy and refinement - a sufficient guarantee for the well nigh perfection of those important parts. Light reddish-brown varnish of striking application, quite Cremonese-like. Scroll delightfully posed, and splendid in contour. Tonal quality somewhat akin to the Italian mellowness. 40, 1928. 85, 1960.
-----------------------------
Fait par Namy, Luthier
chez Madame Salamon
Paris 1773
-----------------------------
(sometimes written)
Initials branded on the back.

NANCE, WILLIAM EDWIN
Born at Padstow (Cornwall), 1837. Interested in fiddle building as early as 1853, and made a copy, as best he could, of a good instrument in his fathers possession. Result fairly satisfactory, and was played on for some years. Also studied violin playing, and progressed satisfactorily. Became a prosperous coal merchant at the Cardiff docks, resided at Penarth, and 50 years passed before he resumed his former hobby. This re-awakening was undertaken on original lines, and the results fluctuated between failures and successes. Varied outline and arching, some without corners, some high bellied, others flat. None of them purfled. Used maple which freely grows in South Wales; and several pines, but preferably that obtained from an old manor house in Cornwall. Tried many ideas with reference to the thicknessing. Scrolls not confined to one type, sometimes replaced by fancy heads of men and women. Tailpiece made to fit on to a peg or screwed on. Experimented with different varnishes, and worried himself with theories. Made about 100 violins, presented a few to very intimate friends, but otherwise sought no publicity whatsoever.

NANETTE
Frenchman who worked in London, 1866 and possibly came from Mirecourt. Guamerian modelling. 10. Labelled or branded
-----------------------
Nanette Londres
-----------------------

NARDELLI, MICHELANGELO
Worked at Gubbio (Italy), 1850-1860. Outline not particularly impressive. Workmanship not especially skilful. Application of varnish not conducted with a practised hand or artistic mind.
---------------------------
Michelangelo Nardelli
fecit 1858. Gubbio
--------------------------

NASH, I. G.
Resident at Grand Rapids (Michigan), 1925. Advocate of the varnish prepared by G. J. Thomas of Oakland (California).

NASH, THOMAS
Amateur at Ayr (Scotland), 1880-1916. Ordinary workmanship of various models.

NATALE, PIETRO
Born in Italy. Worked at Chambery. Died 1898. Ordinary work.

NAYLOR, ISAAC
Worked at Headingly (nr. Leeds), 1778-1792. Pupil of Richard Duke. Amatese modelling, much in the style of that of his teacher, whole contour catches the eye most agreeably. Sound-holesand scroll show experienced if not clever designing. Dark shade of golden-brown varnish, and considerable art has been expended on its application. Tonal quality has that liberality of softness particularly appealing to an amateur fond of performing chamber-music. 20.

NAZAIRE
Possibly the same as Naizar. A maker mentally blind to the exigencies of the artistic and graceful by adopting the unwise policy of over-large modelling and by not refining some points of its bigness. Body length, 14-3/8 inches. Stradivarian outline and arching, but excessively wide across the waist and upper bouts. Very thick edges which add to the commonplace appearance and accentuate the bigness. In the sound-holes, we see certain traits for a modicum of congratulation. Scroll dishonourably ugly, not merely because of its stiff and stuck-up attitude, but by an unusually abrupt depression towards the lower part at the back. Dull and sparsely applied red-orange varnish. Tonal quality distinctively coarse. 10.
--------------------------------------
Nazaire, rue de lHtel de Ville
Mirecourt
--------------------------------------
(undated)

NEBEL, FRED
Born at New York City, 1901. Apprenticed to his father Andrew. Studied at Mittenwald. Worked at Berlin. Established at Brooklyn. Splendid reproductions of old Italian models, also one having individualistic outline, scroll and sound-holes. Spirit and oil varnishes of various shades, guaranteed to retain their lustre for uncountable years.

NEBEL, HANS
Born at Mittenwald, 1892. Worked at Vienna. Stuttgart, and for Wurlitzer at New York. Returned to birthplace, 1945. Cremonese and other models carefully replicated.
-------------------------------
Hans Nebel
Mittenwalder Geigenbau
nr. anno
-------------------------------

NEFF, ELLERY L.
Born 1900. Pupil of Bretch at Oswego. Resident at West Willington (Conn.), and Tolland. Stradivarian modelling good outline with edge slightly turned up, oil and spirit varnish generally of dark shade.
------------------
Ellery L. Neff
Tolland. Conn
1929
------------------
(decorative border and monogram)

NEFF JOSEPH
Worked at Philadelphia. Died 1887.

NEINER JOHANN GEORG
Probably son of Johann Neuner. Born at Mittenwald. Worked at St. Petersburg. 1820-1830. Violins attractive only to those who have a predilection for the Bavarian type of instrument. An experienced workman who attained a certain power of structural dexterity but who also magnified certain proved weaknesses of that school. Deep reddish varnish wanting in warmth. Tonal quality not in anyway successful. Catalogued at 12, but sometimes priced at 100 dollars in the United States. 60, 1960.
----------------------------------------------
Johann Georg Neiner, Lauten u.
Geigenmacher in St. Petersburg 1829
----------------------------------------------
(copper-plate lettering, with a cross under the date)

NELLA
see RAFFAELE.

NELSON, GEORGE
Amateur at North Seaton, 1890-1920. Made several well worked violins to which he imparted a very satisfactory tone.

NELSON, H.
Resident at Moonambel (Australia), 1888. Exhibited (at Melbourne) a violin of which the body was composed of 50 pieces of native woods.

NEMESIANUS, LE
Name given to trade violins made at the Thibouville-Lamy Factory, Mirecourt, 1920. Well figured wood and light-brown varnish. 8, 1960.

NEMESSNYI, SAMUEL FELIX
Born 1837. Descendant of an impoverished noble family at Liptoszentmikls (Upper Hungary). Went to Pesth in 18th year to work for Schweitzer, and (in 1858) for Sitt at Prague. Later lived at Szeged, and returned to Pesth, 1863. Died 1881. Particularly ingenious copyist of old Italian models. Had a marked predilection for Guarnerian modelling, and produced many specimens magnificently adherent to the masterly prototype. So great is the similarity that some have been re-labelled and sold as genuine Cremonas. Similar treatment given to the Strad and Maggini designs. Backs generally with broad well defined curly maple cut on the slab. Sound-holes rather sharply cut and cleanly finished. Slight channelling. Rims and corners rounded with the utmost nicety. Immaculate purfling and scrolls. He seldom varnished in one colour, but preferred remarkably warm shading. Though containing little oil this alcohol varnish possesses sufficient to give the necessary fire and is beautifully transparent. Beneath this yellow gold to deep red varnish, he applied his secret golden yellow ground, all contributing to the impression that the instruments must have emanated from Italy. Used belly wood of the very finest quality, which allowed him to work it as thin as 2.2 mm. under bridge. His superior specimens have this treatment. Made a few violas of small pattern, generally of a lower standard than the violins. Also produced several magnificent cellos comparable with the best of any country. Unfortunately, unable to place a check on his unruly disposition towards dissipation and inebriation, ultimately descended to merely trading with German made merchandise, and finally wandered from town to town glad to do anything to temporarily replenish his purse - a typical instance of genius trampled on by one of the numerous afflictions besetting humanity, and ending in death at the zenith of life.
-------------------------
Samuel Nemessnyi
fecit Pestini, 1874
-------------------------
---------------------------------------------
Samuel Nemessnyi fecit ad formam
Antonio Stradiuarii Pestini 1865
---------------------------------------------
---------------------------------
Csinlta Nemessanyi Samu
Pecsen S.N. 1861 II
---------------------------------
--------------------------------------
Nemessnyi Sam
P. Maggininiutan Bpesten 1879
--------------------------------------
---------------------------------------------
Samuel Nemessnyi fecit ad formam
Joseph Guarnerii pestini anno 1879
---------------------------------------------
Some labels have Samueli. Occasionally used a brand N.S. or S.N. above label.
Tonal quality completely congenial to the bravura soloist, neither string dull or unequal, but a splendidly free emission of sonorous strength and brilliancy, but perhaps wanting a little in softness. Some instruments classed as equal to a Lupot. 85, 1960.

NEMES, STEFAN W.
Born in 1908, Budapest (Hungary). Descendant of the above, many of whose tools and original models were preserved as family relics. Studied with the master craftsman Robert Laumann, then opened a workshop of his own in 1930. Violins are a modified version of Guarnerius and Stradivarius, and up to the year 1945 he produced 41 violins and five complete sets of string quartets (two violins, one viola and one cello each), all prepared with his special lacquets - golden brown and golden yellow. Working with an acoustics expert he managed to eliminate the so-called Wolf effect on cellos which frequently spoils the beauty of the tone on the G and C strings. Escaped from Hungary with wife and son during the uprising (1957) and came to London where he joined the well-known connoisseur and expert - Cyril Woodcock and became his chief repairer. Skilful repairer and restorer of all stringed instruments.

NERMEL, J. M.
Worked at Paris, 1777-1789. Regarded artistically there is no outstanding evidence of a true master-hand either in contour or workmanship, but anatomically the instruments are of good substantiality. Ordinary shade of brownish-yellow varnish.
---------------------------------------
J. M. Nermel luthier
rue du Vieux Colombier Paris
1788
--------------------------------------

NESPOT, CARL J.
Established at Cicero (Illinois), 1927.

NETIK, V.
Worked at Pekle near Wamberg (Bohemia), 1880-1890.
--------------------------
Opravil
V. Netik
v Pekle u Vamberka
1883
--------------------------

NEUBAUER, CAROLUS
Worked at Budapest, 1805-1820. General style similar to that of his brother Christian. Contour displays most effective harmonisation of parts. Tonal quality has force and delicacy.

NEUBAUER, CHRISTIAN
Worked at Ofen (Budapest), 1819-1830. Modelling and workmanship to be regarded as equal to anything produced by a Hungarian. Productivity extremely limited, and circulation not so extensive as we could wish. Charming examples in varnishing. 20 (1928).
---------------------------
Christianus Neubauer
fecit
Budae 1820
--------------------------
---------------------------
Christianus Neubauer
Ofen 1822
---------------------------

NEUMRKER, CARL AUGUST (1)
Born 1791. Died 1864. Son and pupil of Carl Gottlob. Worked at Schneck (Saxony). Violins having an artistic sense of construction, although there is an ultra-Saxonian tendency in modelling and varnish. Tone does not take us into any Utopia, but is very excellent for moderately priced instruments.
------------------------------
Carl August Neumrker
Instrumenten Macher
in Schneck, 1842
-----------------------------

NEUMARKER, CARL AUGUST (2)
Born 1812. Died 1887. Son and pupil of the preceding. Worked at Schneck. Similar characteristics in workmanship and tone. Used the same label.

NEUMRKER, CARL GOTTLOB (1)
Born 1760. Died 1838. Worked at Schneck. First of this family to make violins. Produced first instrument in 14th year. Typical work of the Saxon class, but handled in a really good manner.

NEUMRKER, CARL GOTTLOB (2)
Born 1816. Died 1896. Worked at Schneck. Son and pupil of the preceding. Had the talent and courage to make a few original deviations frdm the often-trod path of predecessors and contemporaries. All details splendidly finished.

NEMARKER, ERNST WILHELM
Born 1822. Worked at Schneck. Most talented artist of the family. Zealously followed his profession when 80 years of age, and produced exceptionally excellent toned instruments.

NEUMURKER, FRANZ WILHELM
Born at Schneck, 1848. Son and pupil of the preceding. Worked in fiddle shops at Glogau, Vienna, Milan and Berlin. Established at Hannover, 1875. Violins made after the various Italian models, sometimes replicas of famous specimens. Every detail (to complete the unity of design) handled most skilfully. Impressed with the loftiness and grandeur of the old master models, he exercised his ingenuity of hand with elevation of feeling. Evidently made a close study and gave his best thoughts to their respective attributes and peculiarities. Also a splendid judge of the essential tonal properties of woods. Various shades of excellent varnish, spirit and oil. Patented an entirely new design of viola, 1882. An attempt to alter the established symmetrical proportions of the ordinary viola by a dilation of the upper bouts with a slight contraction of the lower. Thus claimed that the tone was lighter and more responsive, and could not get lost in the lower circumference as occasionally happened with some instruments of usual dimensions. Posterity has given its verdict by practically censuring altogether. Succeeded by son Willy (born 1883).
-------------------
W. Neumrker
Geigenmacher
Hannover
-------------------

NEUMRKER, JOHANN CHRISTOPH
Worked at Schneck, 1760. Oil varnish of reddish-brown tint. Specimen realised 25 in London (1928).

NEUMON, F.
Worked at Neuhaus (Bohemia).
------------------------------------------
Franz Neumon Instrumentmacher
von Neuhaus. Repariert, 1865
------------------------------------------

NEUNBERG
Worked at Meiderich (near Duisburg), 1910-1925. Well modelled instruments, branded.

NEUNER, HANS
Son and pupil of Ludwig. Born 1878. Became head of Neuner and Hornsteiner, 1904. Studied the violin and cello at Munich. One of his instruments was occasionally used by Sarasate, and the firm preserve a testimonial from that virtuoso. Maker to the Bavarian Court. Recipient of many Exhibition medals.

NEUNER, JOHANN
Worked at Mittenwald. 1800-1815. Called Holebeck. Violins, violas and guitars.
----------------------------------
Johannes Neuner Holebeck
Mittenwald a.d. Isar No. 20
1809
---------------------------------
(written)
Also wrote, under the belly, his name with lead pencil.

NEUNER, JOHANN
Born 1809. Called Noder-Hans. Worked at Mittenwald.

NEUNER, JOSEPH
Worked at Passau, 1790-1812. Violins and cellos, yellowish-brown varnish.

NEUNER, LUDWIG
Most brilliant representative of the family. Born at Mittenwald, 1840. Trained in the workshop of his father Johann; worked with Andreas Engleder at Munich, also studied cello playing with Werner at the Conservatorium. Proceeded to Vienna where he was assistant to Gabriel Lembock; then spent six years under the guidance of J. B. Vuillaume at Paris; also continued his cello studies by taking lessons from Franchomme. The cleverness of his subsequent work must be entirely attributable to the impressions gathered from the masterpieces continually passing through the hands of the eminent Frenchman. Worked a few months in London; opened an establishment at Berlin, 1867; worked there with two workmen until 1883. Death of brother and father necessitated his return to Mittenwald, where he took over the control of Neuner and Hornsteiner. Had branch premises and workmen at Berlin and Innsbruck. Appointed maker to the Bavarian Royal Family. Recipient of various medals at Exhibitions throughout the world. Died 1897, after organising the firm in such a manner that 200 men were daily employed in coping with large orders from every country. An accomplished man, cultured conversationalist, etc. who could proudly boast of any acquaintance with Kaiser Wilhelm, Prince Leopold, and many of the celebrated virtuosi and composers of his country. Spent the last few years of life endeavouring to solve the secret of the varnish of the old Cremona masters. The firm produced all grades of stringed instruments from ten shillings upwards. Solo Violins and Solo Cellos were the personal work of Ludwig. Superior workmanship at the relatively small price of 15. Perfect modelling and replicating of the Messe Strad, or the Paganini Guarnerius, Amati, and Maggini. Finely wooded, richly varnished, and of splendid tone. Produced interesting copies of the Servais and Lbeck Strad cellos. Also made bows for artists.
--------------------------------
Neuner & Hornsteiner
Mittenwald in Baiern 1861
--------------------------------

NEUNER, MARTIN
Worked at Mittenwald, 1836. Moderately good modelling and workmanship. Slight Italian suggestiveness combined with Bavarian characteristics.
---------------------
Martin Neuner
Geigenmacher in
Mittenwald 1836
---------------------

NEUNER, MATHIAS (1)
Worked at Mittenwald. 1720-1773. Completely satisfying in modelling and workmanship. Surprisingly powerful tone.

NEUNER, MATHIAS (2)
Son of Johann. Born at Mittenwald, 1762. Worked there until death in 1830. Travelled extensively to popularise his productions. Unfortunately happened to be in Moscow during the Napoleonic war, and lost all his violins in the devastating fire. Returned to Mittenwald with one ducat in his pocket. A persevering man of large business capacities who soon put himself again on the road to prosperity by opening up trading relations with Italian. French and English dealers. Ultimately employed several workmen. Stradivarian-Klotz modelling of pretty outline and finely graduated slight arching. Average measurements: Bodylength 14 inches; upper bouts 6-3/8; lower 8; ribs 1-1/4 full depth all round. Altogether a pleasing model. Sound-holes not superlatively graceful. Scroll somewhat narrow at the front, otherwise rather large. Sometimes ornamental purfling of scroll design rather suggesting the ordinary cheap commercial violin. Originally a golden-brown shade of varnish, now oxydised to a reddish-brown or dark red thickly applied. Excellent tonal quality but without great power. Well chosen and handsome wood. 30 (1930). Also nice toned Stradivarian violas, red-brown varnish. Cellos of graceful modelling, similar varnish.
--------------------------------------
Mathias Neuner Geigenmacher
in Mittenwald, 1795
--------------------------------------
---------------------------------------
Mathias Neuner, Geigenmacher
in Mittenwald, an der Isar, 1805
---------------------------------------
---------------------------------------
Mathias Nener, Geigenmacher
in Mittenwald, 1812
Nro 94
---------------------------------------
---------------------------------
M. Neuner & Hornsteiner
aus Mittenwald an der Isar
---------------------------------
94 refers to the number of his house, and not the number of the instrument as sometimes erroneously stated. Name also given as Neiner, but not often. Many of the later dated instruments were made by apprentices and pupils, and considerably vary in tone, workmanship and price. 30, 50, 85, 1960.

NEVEU, CHARLES
Born 1863. Worked at Paris, 1893-1905. Established in the Rue Manton-Duvenest. Acquired great structural dexterity together with a keen perception of that which is beautiful in the Cremonese work and successfully replicating it. Favoured the Stradivarian modelling, but also occasionally represented the Guarnerian and Amatese. Oil varnish rather splendidly applied.
------------------------
Ch. Neveu, Luthier
Paris. Anne 1897
------------------------

NEUSTROM, E. A.
Established at Streator (Illinois), 1920.

NEW CREMONA
see GROSSMANN.

NEWBURG, HENRY
Resident at Axbridge (Somerset), 1800-1836.

NEWMAN, J. H.
Resident at Croydon (Surrey), 1900.

NEWTON, ISAAC
Worked in London, 1775-1825. Very ordinary modelling, and the corrective influence of long experience seems never to have taken place. Dirty shade of yellow varnish exciting dissatisfaction and distrust of the tonal quality which has a disheartening effect on the easiest going amateur. 10. Occasionally made violins and cellos for Betts, but these were always varnished by the latter.

NEWTON, THOMAS
Worked in London, 1740-1750. Modelling somewhat Tyrolean in style. Not an exponent of the highest merit. Proportions and thicknesses not critically weighed and justly determined. Inconsistency of established rules gives the tone much undesirable inequality. Indiscriminately applied a shellac varnish, resinous, non-elastic, and of a cloudy hue.
-------------------------------------------------
Thomas Newton in Southampton Street
Covent Garden, 1746
-------------------------------------------------
(written)

NEWTON, WILBER ELLIS
Resident at Ottumwa (Iowa), 1900-1940. Ordinary workmanship of a Strad model, oil and spirit varnishes, golden yellow and yellowish-brown; especially free tone.
-----------------------------------------------------
Ellis Newton
No. 394 Maker
Ottumwa Iowa
Concert Solo Violin Anno 1929
-----------------------------------------------------

NEWTON, WILLIAM N.
Resident at Calumet City (Illinois) 1924. Produced 270 specimens from 1900 to 1924 - a profusion not effected by any careless rapidity; and the common-sense of the public has not failed to perceive the several estimable qualities. Stradivarian and Amatese modelling. Routine of action not founded on any fallacious principles and no secret procedure to ensure a certain quality of tone. Workmanship conducted by a particularly skilful hand. Whole contour affords confidence to connoisseurs. Oil varnish generally of a golden yellow shade, no misgivings as to its beautiful transparency. Instruments that sell at 500 to 1000 dollars, many in circulation throughout the United States. Tonal quality nicely brilliant and suave.
-------------------------------------------------
William N. Newton
Watch and Violin Maker
Calumet City. Illinois.
637 Ingraham Avenue and 153rd Street
-------------------------------------------------
(large; with designs of two violins and a clock)

NZOT
Worked in Paris, 1730-1760. Produced a few violins, but gave more attention to viols and small violettas. Viol-damours of exceedingly pretty design and delightfully convenient to handle. Moderately high arching of perfect graduation. Brownish varnish with yellow ground. Snake-form sound-holes, but with upper and lower curves similar to those of a violin. Pegs for the aliquot strings placed at the back of the peg box. Branded Nezot near button.

NGUYEN, DUC TRONG
Worked at Mirecourt for Laberte. Established at Saigon (Indo China). Maker of various kinds of stringed instruments.

NICHOLS, JOHN K.
Born at Fort Edward (New York), 1872. Professional violinist and dealer in musical merchandise at Haverhill (Mass.), 1925. Did a lot of repairing and graduating during the early years of life. Decided to seriously make new instruments, and gained much insight of the art from Robert Pelz at Chicago and E. F. Bryant at Boston. Produced first instrument, 1914. completed two or three yearly. Guarnerian modelling of fine curvatures and arching. No want of analytical perspicuity in graduating thicknesses and arranging the bass bar as a means of ameliorating freedom and equality of tone. Dark red varnish most effectively applied. Instruments well constructed. Accomplished much that is acceptable by the best players in the Boston Symphony Orchestra. Discovered no new secret nor encouraged the slightest self-investment powers relating to resuscitation of lost Cremona secrets.
--------------------
Made by
John K. Nichols
Haverhill. Mass.
1916
--------------------

NICHOLSON, J.
Amateur. Medical doctor. Resident in London, 1880. Author of Designs and Plans for the Construction and Arrangements of the New Model Violin - a large folio-pamphlet giving diagrams of method, etc., and carried out by George Chanot of Wardour Street. The new idea was principally an attempt to perfect the usual functions of the sound-post by abolishing it.

NICKL, SEBASTIAN
Worked at Vienna, 1780-1787. Went to Russia 1788. Probably a pupil of Leidolf as his instruments are almost replicas of that mans in contour and varnish. Workmanship fully demonstrates meritorious skill. Whole ensemble particularly graceful. Tonal quality quite clear and fairly rich. 30 (1930).
-----------------------
Sebastian Nickl
fecit Viennae 1783
-----------------------

NICLAS, STEPHAN
Born 1737. Died 1778. A wandering musician who repaired and made fiddles at various stopping places around Salzburg.
------------------------------
Stephan Nicolas Geigen
macher in Hllein. 1778
-----------------------------
(German lettering)

NICOL, THOMAS
Born at Pitmuies, 1840. Violinist. Made first instrument 1860. Resident at Glasterlaw. Died 1910. Constructed 80 violins, Strad and Guarnerian modelling, early specimens with spirit varnish, later, Whitelaws oil varnish excellent workmanship, loud and clear tone.
-----------------
T. Nicol
18 Maker 98
Glasterlaw
-----------------
Sometimes without place name.

NICOLA
see TOLLA.

NICOLA, UTILI
Born at Castelbolognese (Italy), 1888. As a child very fond of music. Made guitars and mandolines for an Exhibition, 1904. Then started violin-making, and ultimately evolved an entirely new model by turning the four corners inwards. Highly appreciated in his own country, Switzerland, and America. Won first prize at Turin Exhibition, 1928 for a quartet of very handsome instruments. Flattish modelling. Guarnerian waist curves, sound-holes, and scroll. Magnificent workmanship in every department. Bass bar made with the grain transverse in order to make it stronger and to avoid cracking. Pure linseed oil varnish, virtually analogous to that of the classical makers. Applied thinly a large number of times, and allowed three months to dry when exposed to the sun all day. Result very fine. Highly flamed wood for backs. Undeniably splendid in wealth and purity of tone. Various labels, each lavishly ornamented.
-----------------------------------------
1922. Nicola
da Castel Bolognese
1923. Nicola da Castel Bolognese
-----------------------------------------
-----------------------------
Utili Nicola, fabbricante
Castelbolognese. 1900
-----------------------------
----------------------------
di instrumenti a corda
Castelbolognese. 1904
----------------------------
------------------------
Nicola
Fece tili. Nel 1921
In Castelbolognese
------------------------

NICOLAS
see VAILLANT.

NICOLAS
Worked at Aix (France), 1815-1840. Ordinary Mirecourt style of a Strad model.
--------------------------
Restaur par Nicolas
Aix. 1838
--------------------------

NICOLAS, ANTOINE
Worked at Mirecourt, 1755-1780. Principal of the Luthiers Guild. 1757. Instruments of rather commonplace conception with workmanship only up to the standard of that particular class. 12. Label furnishes the fictitious information that he was a maker and general dealer in Cremona. Decorative border, italicised lettering except his name which is given in square characters.
-------------------------------------------
In Cremone civitae apud Antonium
Nicolas, facta instrumenta omnia
generii verduntur
-------------------------------------------

NICOLAS, DIDIER (LAIN)
Also known as deaf Nicolas. Born at Mirecourt, 1757. Died there 1833. Violins of good workmanship though not particularly well finished. Attempted to give his instruments a certain personality which is very conspicuous if not altogether admirable. Large modelling, rather forbidding in breadth, with arching slightly more elevated (and less graceful) than the Stradivarian. Over-done substantiality from which we cannot anticipate getting real beauty of tone. This tone, as a matter of fact, is altogether monotonous, certainly large and loud enough, but generally coarse and unpleasant, and without the slightest sympathy. Orchestral players often try to get a good specimen. Excellent margins, purfling likewise good, edges slightly raised, lending character to the contour. Somewhat puzzling sound-holes, being noticeably wide at the middle, and the wings cut off almost horizontally. Originality has its good points, but only when any peculiar idiosyncracy preserves artistic grace - and here, we think, Nicolas signally failed. Much more sensible judgment shown in the shades of varnish - a red brown tinged with yellow, brownish-yellow without brilliancy or transparency, and an especially good looking red. Some instruments labelled as by Nicolas Gagliano. Catalogued at 35 although 60 has been given. Also violas, body length, 15-1/4 inches. Branded (where label is usually placed).
-----------------------------
A la Ville de Crmonne
D + N
D. Nicolas ain -----------------------------
Also signed with pen and ink, near the sound-post: D. Nicolas. ain Mirecourt. Notice the two ns in Crmonne.
The above description applies to the instruments made entirely by himself previous to year 1810. After gaining marked popularity and Exhibition awards, he developed a large trading concern, which, at the time of his death, needed 500 apprentices, pupils, workmen. etc., to cope with the demand. These instruments, though of similar modelling, are not in the same category as the former. Powerful tone but altogether hard. Varnish also often dull and cold looking, various shades from light yellow to dark brown. Branded with the triangular design. This noted trade mark was bought and traded upon by Derazey which later became the sole rights of Laberte and Magni at Mirecourt who today build hundreds of violins bearing the name Didier Nicolas ain and exactly reproduce all the well-known characteristics of the original. 30, 65, 1960.

NICOLAS, FRANOIS
Worked at Mattaincourt (near Mirecourt), 1752. Known for well worked quintons, yellow varnish.

NICOLAS, FRANOIS NICOLAS FOURRIER
Born at Mirecourt, 1758. Apprenticed to Saunier at Paris, 1770. Appointed maker to the Royal School of Music, 1784, and to the Emperor, 1804. Made all the stringed instruments used in the private orchestra of Napoleon I. Died 1816. Pattern, though of large proportions has much consistency to the Stradivarian. Workmanship uniformly well finished. Artistic sense is the governing spirit of the arching and sound-holes (a fortunate relief from those of a Didier). Sides sometimes rather shallow. Scroll shows the makers invincible determination to make it bold. Wood, in every department, most carefully chosen. Proportions minutely accurate. Either a brilliant red varnish (Lupot-like), or a red-brown, or a deep orange (red on a yellow ground), generally thickly applied. Strong toned violins, like rivers, will make their way somewhere, and if a violinist wants an instrument for fine symphonic work, his decision in favour of one of these should not long be delayed. Catalogued at 50; 600 dollars in America. Cellos magnificently built, and have a finely full sonority.
------------------------------------------
Nicolas, luthier, rue St.
Nicaize, No. 502 Paris. an 1797
------------------------------------------
(often written)
----------------------------------------
Fourrier Nicolas
Luthier de la Chapelle de sa Mte.
LEmpereur Napoleon ler.
L. Parisiorum anno 1806
-----------------------------------------
---------------------------------------------------
Repar par Fourrier Nicolas
luthier de la chapelle de S. M. lEmpereur
pour son ami Julien, chef dorchestre
des bals de la cour, 1806
---------------------------------------------------
Name and work must not be confused with Nicolas lain. The difference between the two is most marked. To distinguish himself from the other he frequently stamped Nicolas de Paris on his productions. Lain allowed himself to be handed forward to all the demands of trade, and so rendered his art subservient to money; the other advanced with the determined principle of making everything subservient to his art. The artistic deliberation of such a mind is a very different thing from the fluctuation of the other. Some instruments ticketed as made by Lupot. 100, 1960.

NICOLAS, MATHIEU
Worked at Mirecourt, 1690-1716. The first of this family to make violins. Tonal quality hard and inflexible, quite ineffectual in the milder forms of sweetness. His path to real excellence was obstructed and beset by a hand not qualified to do neat workmanship. Neither can we accede a verdict of acquittal in judging the quality of his spirit varnish, either a yellow or a red, altogether lacking transparency and brilliancy. Best instruments generally of medium size pattern, and slightly arched. Branded M. Nicolas on the back. 30, 1960.

NICOLAS, THOMAS
Born at Mirecourt. Worked at Geneva, 1790-1820. Violin in the Geneva Museum, Guarnerian outline, Amatese sound-holes, large well carved scroll, one-piece back and pale yellow varnish. 45, 1960.
----------------------------
fait par Nicolas luthier
Genve 1817
---------------------------

NICOLAY, J. N.
Worked at Lismore (Minnesota), 1919. Established at Sioux Falls (South Dakota), 1927. Exhibited violins and bows at the Music Trades Convention, Chicago, 1925.

NICOLL
Resident at Montrose (Scotland), 1920. Produced several violins of excellent design.

NICOLL, GEORGE
Born at Dunedin (New Zealand), 1880. Established at Auckland, 1925. No two of his instruments are alike. Considered his 1922 model as his last word in design. Spent 15 years in research work. Hoped (in 1925) to publish the results of his researches which (he considers) will have influential bearing on future designing, and believes that he can furnish the nucleus around which standard work on scientific violin construction will ultimately be planned. Made a study of Euclids harmonic laws, dealing only with two dimensions, length and breadth, and takes little notice of depth. By taking too much of this depth modern mathematicians have been side-tracked from the origin of life - in other words, matter plus vibration. Designed his violins on this Pole and Polar law of relativity, and the result has been the production of a pure Italian tone according to laudatory epistles from Zacharewitsch and other virtuosi. Modelling very original, and workmanship excellent. Special oil varnish of own preparation, various shades. Catalogued at 40, and advertised as a gilt-edged investment.
-----------------------
3781 N.Z.
Cremoana
Auckland. A
1924. Geo. Nicoll
----------------------
(written on vellum)
Cremona placed within a perfectly shaped design of sound-post. The letter A means the first of the year 1924, others being B, C, D, etc.

NIEBELL PAUL H.
Born. 1901. Amateur. Studied with Moglie. Resident at Washington (D.C.) 1940. Guarnerian modelling golden brown or orange varnish. Professional violinists praise the penetrative quality of tone.

NIEDERHAUSERN, ALFRED VON
Born 1902. Worked at Lucerne. 1939. Splendid modelling, impeccable workmanship good textured varnish.
--------------------------------
Alfred von Niederhausern
Geigenbauer
Luzern 19. .
--------------------------------
(arms of Luzern on left)

NIEDT, KARL
Born 1872. Pupil of E. F. Reichel at Markneukirchen. Established at Wrzburg (Bavaria), 1897. Died 1950. First period instruments belong to the ordinary copying of well-known styles. Tyrolean and Italian. Produced them at an almost incredible ratio of speed to keep pace with the extraordinary demand. However this extensive multiplying did not bring in its train anything that was not well designed, or not of especially nice workmanship, with equally eye-pleasing oil varnish (a nice yellowish red shade). Second period instruments deviate from the usual proportions by having stronger plates and greater breadth, also a differentiation in the height of arching. No improvement in tonal quality resulted. Third period instruments rationally modelled on Stradivarian and Guarnerian principles. Subsequently copied, rather frequently, the varnishing peculiarities of Lupot and Vuillaume. Entire design and workmanship splendid, and finely supplemented by a tone quality of outstanding excellence. Also highly reputed as a repairer and for certain special tonal adjustments by which he guaranteed to renew the life of any battered old specimen. Inventor of a new-art-spun G string.
----------------------
Karl Niedt
Wurzburg, anno -
----------------------
------------------------------
Karl Niedt, Geigenbauer
Wrzburg 19. .
------------------------------
--------------------------
Karl Niedt
Wrzburg. fecit 19. .
--------------------------

NIEHUS, F. M.
Established at Dayton (Ohio), 1920.

NIELSEN, BOTNEN
Born in the Hardanger-Fjord district (Western Norway), 1690. Lived in his beautiful mountain and fjord country for 90 years. Played on a primitive Tyrolean fiddle at local dances. Found it too large and too high-bridged for his very limited technique. Conceived the notion of reducing the size, and became inspired to create a special form. Went to bed one night, wildly enamoured of ideas, and (according to local legend) dreamed that His Satanic Majesty presented to his view a fiddle entirely black in colour and of unique design. Awoke from the trance, visited a schoolmaster named Klark, who dabbled in wood carving, and ultimately constructed, rather crudely, the first instrument since denominated the Hardanger fiddle. Deep modelling, smaller in size than the ordinary violin, short neck, low bridge, four strings over the fingerboard and four of wire underneath, no scroll, but a rudely carved head instead, first varnished in black then thickly coated with a brownish-red, bone purfling, and clumsy sound-holes. Very elementary affairs which rapidly spread throughout the western parts of Norway. Subsequent specimens often profusely decorated on the fingerboard, tailpiece, and peg-box, with arabesques on the belly, back and ribs. See under Isaaksen.

NIELSEN, NEILS CHRISTIAN
Born at Struer (Denmark), 1892. Studied with Anders Rasmussen at Aarhus; also worked at Copenhagen. Produced first instrument, 1916. Established at Omaha (Nebraska), 1927. Absolutely commendable modelling after the Guarnerian style. Workmanship of highest grade. Enriched by a finely transparent golden orange varnish. Tonal quality thoroughly approved of by several influential players in the States.
---------------------------------------
N. C. Nielsen
Violin Maker
202 Crounse Blk. Omaha. Neb.
---------------------------------------

NIEPRASCHK, WILLIAM F.
Electrician, resident at Baltimore (U.S.A.), 1927. Several violins of Stradivarian modelling. Design, workmanship and tonal quality very satisfactory. Written labels.

NIER, CAJETAN
Worked at Watzkenreuth (Bohemia).

NIESSEN, MATHIEU
Born at Rheydt (Germany), 1894. Worked for Otto Mller at Aachen, 1908-1918. Established own premises, 1924. Produced about three violins yearly. Stradivarian modelling of interesting conception. Etherialised oil varnish of orange and golden brown shades. Tonal quality of particularly free emission. 20.
-------------------------------------
Mathieu Niessen
Geigenbauer in Aachen 19. . .
-------------------------------------

NIGGEL, SYMPERT (1)
Worked at Fuessen, 1712-1720. Stainer modelling and brown varnish.
---------------------------------
Symperthus Niggel Lauten
Geigen Macher 1717
---------------------------------

NIGGEL, SYMPERT
Born at Schwangen (Bavaria), 1710. Worked at Fuessen from 1730. Died 1785. First period instruments subject to the outline and high arching of the Stainer modelling. A slight heaviness perhaps detracts, but on the whole, the workmanship is free from listlessness of hand. Second period instruments, of medium arching, partake more of Tyrolean-Amati style, something similar to that of the second Matthias Albani. Outline pre-eminently pretty. Various proportions splendidly accurate, and thicknesses of wood finely graduated. No undignified judgement or hapless plight of a shaky hand about the scroll. Excellent belly wood, and usually prettily marked material for backs and ribs. Three shades of rather brittle and chippy varnish, light yellow, red-brown and one of darker tint (a sort of reddish cherry colour, and his favourite), applied in such a manner as to show that he had at his command all effective forces which execute the decrees of art. Healthy character of tonal quality, not particularly powerful, but of an agreeable evenness and clarity. These violins are comparatively little known in this country, and since dealers (either from caprice or indolence towards the lesser lights of German emanation) have not yet specialised them, the price remains at the ordinary figure of 30 (1928). Also produced many viols with decorative heads, finely carved and reddish-brown varnish. Cellos full of Tyrolean characteristics awakening the senses to a premonition of semi rich tonal quality.
---------------------------------
Sympertus Niggell
Lauten und Geigenmacher
in Fssen, 1765
---------------------------------
Others in ordinary lettering, and two-lined. Some branded S.N. or N.S. inside. 65, 1960.

NIGGL, KORBINIAN
Worked at Braunau (Upper Austria), 1849. Instruments much in unison with the Bavarian style, but we cannot confidently say that the design, workmanship or tonal quality are completely satisfactory.
-------------------------------
Korb: Niggi brgl: Geigen
macher in Braunau 1849
-------------------------------

NIGGL, MATTHIAS
Worked at Mittenwald, 1860-1880.

NIGOUT, GILBERT
Established at Jenzat (France), 1863-1919. Pupil of Pajot. Principally produced vielles in the form of lutes and guitars. Also violins which have not received an excellence of workmanship or varnish.
-----------------------------
Nigout Jenzat. (Allier)
-----------------------------
(written)

NIKLANDER, ANTTI
Born 1867. Worked at Helsingfors. Called the Nestor of Finnish violin-making. Violins and bows - the latter especially esteemed by orchestral players in Finland and at St. Petersburg.

NIKOGOSYAN, V.
Born Istanbul, 1911. Played the violin and constructed one in 15th year. Went to Paris 1929 to work with Marcel Vatelot. Returned to birthplace 1933. Violins, cellos and guitars. Received laudatory notices from several travelling virtuosi.
-------------------------------------
Vahakin Nikagosyan. Istambul
-------------------------------------

NILMAN, GUNNAR
Born 1888. Amateur at Deje (Sweden). Won medals at Karlstad (1929), and Rommehed (1939). Guarnerian and Strad modelling, yellow or yellow-brown varnish.

NILSSON, AUGUST
Born 1861. Amateur at Skene (Sweden).

NILSSON, B.
Resident at Hutta (Parish of Ny Eds, Sweden). Known by a cello labelled -
------------------------------------
Bengt Nilsson
i Hutta, Ny Eds Soken, 1787
------------------------------------

NILSSON, ERIK A.
Born 1925. Resident at Vamhus (Sweden). All bowed instruments, also guitars, zithers and miniature violins.
-------------------------------
E. Allan Nilsson Vamhus
Violinen Byggd Ar 1949
-------------------------------

NILSSON, HENNING
Born 1907. Amateur at Hgans (Sweden).

NILSSON, JOHAN
Resident at Arvika (Sweden). Won silver medal 1925.

NILSSON, NILS
Born at Malm 1842. Died 1929. Excellent modelling, immaculate workmanship, and varnish of attractive tint. Also guitars and lutes. Assisted and succeeded by two sons (Gottfrid and Albert) both equally expert as their father.
-------------------------------
N. Nilsson, Malm, 1900
-------------------------------

NILSSON, STEN
Born 1908. Veterinary surgeon at Stockholm. Studied violin construction with Heimerlid. Very attractive designs, neat workmanship, and good oil varnish.
-------------------------
Stockholm No.
Sten Nilsson 1949 7
-------------------------
Written in Indian ink on a 5-line stave.

NIQUET
Contra bassist at the Opera Comique, Paris, 1822. Enterprising and enthusiastic copyist of the Lupot style. Pretty violins (to which Parisians were attracted), though of large size. Long scroll, with beautiful rounding to the boss. Sound-holes with especially graceful top and bottom curves. Orange-red varnish. Some re-labelled with the name of Lupot.
------------------------
Fait par Niquet
Luthier
33, rue de la Lune
Paris, 1822
------------------------
Niquet branded near top of label.

NISBET, WILLIAM
Born at Stenton (Scotland), 1828. Worked at Lint Mill, Preston Kirk. Died 1903. A versatile genius, son of a labouring man, self-taught in wood carving, basket making, fancy cabinet work, natural history and science, and violin making. Acquired rather splendid technical skill engineered by years of enlightened observation of the worlds masterpieces and gleanings gathered from treatises. Early dated specimens belong to the Maggini style. Subsequently adopted a semi-Amati outline and arching, but with a distinctively broadened waist originally created to obtain increased tonal power. Measurements: - Body length, 13-15/16 inches; upper bouts 6-7/8; middle, 4-5/8; lower, 8-1/8. Corner to corner, 3-3/16; length of sound-holes, 2-7/8; distance between top of sound-holes, 1-3/4; ribs 1-1/4 all round. Scroll casts no reflection on his conscientious attempt at originality, though not ideally artistic. Excellent volute, over prominent boss, semi-bulgy sides, and the scallop with flattened edge, not a liberal supply of consistency in refinement and certainly no chariness of robustness. Full-looking corners, but not unruly protruding. Edging not beautifully rounded. Purfling rather wide, but laid with a skilful neatness corresponding with unblemished accuracy. Nice flight of curvature accompanies the Amati-Strad sound-holes, though occasionally the upper and lower apertures of the left are not absolutely uniform with the right. Belly wood of strong and regular fibre, and generally one-piece backs with the flame running at a slight angle. Spirit varnish of nut-brown or crimson shades, not of hard surface, and splendidly applied. Tonal quality particularly responsive, strong and cutting, something affording an enduring and ever fructifying gratification to the player who hopes for maturity of sweetness. Produced 120 specimens, and 25 should not embarrass any prospective purchaser who desires to encourage British enterprise.
----------------
Wm. Nisbet
Lint Mill
1886
---------------
Inscribed with lead pencil slightly indenting the wood where label is usually placed. Gained bronze medal at the Edinburgh Exhibition 1885. Also had a good local reputation as a reel and strathspey player.

NISLE, DAVID
Musician in the service of Prince Wittgenstein at Berleburg.
-------------------------------------------
Reparirt von David Nisle
Musicus wad Instrumentenmacher
anno 1799
-------------------------------------------

NISTLER, ALOYS
Bow maker at Fleissen (Bohemia), 1925.

NOBITSCHEK, BRUNO W.
Worked at Innsbruck (Tyrol) 1910-1921. Directed his attention to producing fine modelled instruments which have a tonal quality not unworthy of a soloists regard.
-------------------------------------
Bruno W. Nobitschek
Geigenbauer. Innsbruck 1920
-------------------------------------

NOBITSCHEK, JOSEF
Worked at Pressnitz (Bohemia), 1878-1908. Modelling directed by an artistic eye. Solidly constructed instruments built for that futuristic expansion of tonal quality which will never become enfeebled.

NOBITSCHEK, JOSEF OSKAR
Born at Pressnitz 1881. Son and pupil of the preceding. Worked with Mckel and Friedel at Berlin. Established at Innsbruck (Tyrol) 1906-1925. Gold medallist at Rome 1906. Modelling shows the impression of Cremonese standards, all details scrupulously well finished. Tonal quality particularly smooth and free. Also splendid violas and cellos.

NOBLE, HUGH
Born 1849. Worked at Dundee (Scotland) 1875-1900. Amateur enthusiast who accomplished serviceable work and felt the importance of it. Not high-class productions, but certainly without any inelegancies. Very nice varnishing. Tonal quality quite resonantly large, but lacks sympathetic quality.
------------------
Hugh Noble
Dundee, 1894
------------------
(written)

NODELL, JOHANN
Amateur at Enanger (Sweden). Won silver medal at Stockholm 1925.

NOEBE, LOUIS
Born 1844. Youthful years devoted to violin playing. Established atelier for violin making 1865, at Homburg (near Frankfort), and was working there 1922. Fairly prolific productivity in violins, violas and cellos. Stradivarian modelling, tolerably refined workmanship, neat scroll, nice wood, warm-looking brown varnish (also other shades), graceful sound-holes. Made several innovations in construction, one being an induction bass bar which seems to have become permanent.
Label - bearing the design of his model with the words System Noebe and Schtz-Mzrke (trade-mark). Also L and N - red paper.
-----------------------
Louis Noebe
Knst-Atelier
Homburg v.d.H.
L.N. 1880 No. 39
April
------------------------
(System Noebe 1880, branded on the back inside)

NOEHL
German trade violas, 1914. Oil varnish. 5.

NOFERI, FLORIANO
Born at San Ginesio (Macerata), 1922. Classical models, oil varnish of yellow or reddish-orange shades.
-----------------------------------
Nofri Floriano
fece in Macerata anno 1951
-----------------------------------
(with signature)

NONINI, G.
Born at Risano (Udine), 1897. Self taught. Won diplomas at Triest (1931) and Friul (1948). Modelling of a few individual traits. Golden-yellow varnish on a background of walnut shade.
------------------------
Giuseppe
Udine 1949 Nonini
------------------------
--------------------
Giuseppe Udine
Nonini 1949
--------------------

NOON, THOMAS M.
Resident at Cardiff 1900. Carefully made violins, attractive varnish and good tone. Label in Welsh, signature Thomas N. Noon.

NORBERG, J.
Resident at Torphammer (Sweden) 1890-1912. Violins and guitars.

NORBON, JOHN
Worked in London 1723. Outline deficient in artistic symmetry. Moderately high arching not well graduated. Proportions not attractively accurate. General contour heavy looking. Varnish and tonal quality quite ordinary.

NORDAHL, KARL LEONARD
Born 1875. Amateur at Tlberg (Sweden). Won gold medal at Stockholm, 1925.

NORDEN, RICHARD
Resident at Crewe 1830-1850. Fair workmanship.

NORDSTRM, BROR JOHAN
Wood sculptor at Stockholm. Won silver medal for well-made violins, 1925.

NORLING, GUSTAV L.
Won bronze medal at Stockholm, 1925.

NORMAN, BARAK
Born 1688. Worked in London. Died 1740. Apprenticed to Thomas Urquhart. Early instruments rather resemble those of his teacher in being somewhat Stainerish. Not long disposed to be content in this region, and eventually fixed keen attention on the Maggini characteristics in the matter of double purfling and the many variegated devices of ornamental curves on the back. One essential principle in his character was a total incapacity of surrendering to indifference or delay the serious determinations of the mind. A strenuous will accompanied his conclusions of thought and constantly incited the utmost efforts to give them a practical result. Produced very few violins. Usually slab backs, and brown varnish. Some very fine violas known. Early dated ones rather highly arched and of large design. Later reduced the arching to medium. Workmanship always invested with neatness. Especially interesting sound-holes though occasionally we might not consider them of ideal grace. Very dark brown varnish, seeming as though the wood had been artificially darkened before applying the varnish. Some have two rows of purfling with a design worked between. Catalogued at 40 (1920). Reputed to be the first British maker of a cello. These are closely allied to the Maggini in design. Usually of large size with all dimensions beautifully proportioned. All workmanship of first-class order. Fine belly wood and handsome slab backs. Tonal quality particularly rich and sweet. Viols particularly noteworthy - highly valued by collectors. Many viol-da-gambas converted into cellos - length 26.4/5 inches; upper bouts 12; lower 15; ribs 5.1/5. Transparent brown-yellow varnish thickly applied. Backs quite flat, cut slab-wise, bellies of slight arching.
------------------------
Barak Norman
at the Bass Viol
in St. Pauls Alley.
London. Fecit
1706
-----------------------
(sometimes in large italic engraved letters within an elliptical laurel wreath)
-----------------------------------------
Barak Norman at the Bass Violin
in St. Pauls Church-yd. London.
Fecit 1723
-----------------------------------------
Sometimes branded -
-------------------
Barak Norman
London
fecit
-------------------
on the belly within a small circle surrounded by a beautiful design in purfling. Monogram N.B. also inlaid, often seen on the centre of the back or under the wide part of the fingerboard. Sometimes the design is painted, but only on instruments that are not genuine. These cheap reproductions are fairly widespread. Entered into partnership with Nathaniel Cross about 1705.
---------------------------
+
Barak Norman
and
Nathaniel Cross
at the Bass Viol in St.
Pauls Church Yard.
London. Fecit 1724
---------------------------
Also branded with a joint monogram.
In a viol-da-gamba was found a label in the handwriting of Cross -
Nathaniel Cross wrought my back and belly
The sides and scroll were done by Norman. One violin, dated 1708, found its way in a rag-bag of rummage to the National Institute for the Blind, London, 1934. Authorities decided not to sell it, but considered that the interests of the blind would be best served by loaning it on important occasions to violinists afflicted with blindness. Violins 75, Cellos 120, 1960.

NORRIS, CARY EARL
Born 1863. Worked at Dresden (Ohio) 1918; and at Zanesville 1928. Stradivarian and Guarnerian modelling, golden-yellow or orange varnish. Also replicas of old instruments, dark yellow with an overcoating of reddish tint.
----------------------------------
Cary E. Norris
Violin Maker and Repairer
Zanesville. Ohio. 1929
---------------------------------

NORRIS, JOHN
Born in London 1739. Pupil of Thomas Smith, went into partnership with Robert Barnes 1765-1780; worked at Bath 1805-1810; returned to London 1810; and died 1818. More of a trader than an actual maker. Generally assumed that all instruments bearing his name or that of his partner, were made by assistants in their employment. Stainer and Amati modelling which never errs against good taste though ordinarily conceived. Yellow-brown varnish of indifferent substance, and sometimes excessively cloudy, super-adding an utterly commonplace appearance. Tonal quality rather small, monotonous, and wearying.
----------------------------------------------------
Made by Norris and Barnes
Violin, violoncello, and bow makers
to their Majesties Coventry Street. London
----------------------------------------------------
--------------------------
Made by John Norris
at Bath, 1808
--------------------------
---------------------------
Made by John Norris
Coventry Street, 1812
---------------------------
Name sometimes branded on the back. Also many bows branded Norris or Norris & Barnes. Several frequently stamped on both sides of the saddle. Productions probably from the hands of Dodd, as style and workmanship are quite similar to authenticated specimens of that reputable maker.

NORRIS, WILLIAM
Born 1727. Rector at Wood Norton (Norfolk). M.A. Spent some early years at Nrnberg. Became very adept at wood carving. Visited Mittenwald and received advice in violin making from the Klotz family. Produced 23 violins after his return to England. Died 1798. Performed his amateur purpose admirably. Klotz modelling. Refined workmanship. Gblden-brown varnish of good texture, own formula.
------------------------------------
Rev. William Norris
Made at Wood Norton, 1782
------------------------------------
N branded on button. Some yeats after his death the instruments were bought by a London dealer who obliterated the N, and placed a Klotz label within.

NOSEK, FRANZ
Worked at Metz (Lorraine). Violins of graceful curvatures and golden-yellow varnish.
--------------------------------
Franz Nosek
Geigenmacher Metz 1942
--------------------------------

NOSEK, VCLAV
Born at Trest (popular summer resort in Moravia). Worked there 1927. Violins acclaimed as representing the greatest advancement in violin construction since the days of the Cremona makers. Built correctly on the usual scientific principles. Italian breast wood. carefully chosen for its singing qualities - backs of the prettiest material. Discoverer of a special oil varnish which has materially assisted him in solving the problem of old Italian tone. Asserted that these new era violins, without any development, answer the most exacting requirements in evenness, brilliance, quantity and quality of tone colour. Endorsed by Sevcik, Koian and other Bohemian virtuosi, also gold medals at various Expositions.

NOSTRAND, CHARLES
Worked at Brooklyn (New York), 1915.

NOTE, JOHN
Born in Calabria 1889. Worked with G. M. Francois at Pittsburg (Pa.) for several years. Exceptionally fine craftsman.

NOVELLI, NATALE
Born 1908. Pupil of Pedrazzini. Worked at Milan. Strad modelling, flawless workmanship, reddish-golden varnish. 80, 1960.
---------------------------------
Natale Novelli
Allvo E Nipote Pedrazzini
fece Milano, 1947
---------------------------------

NOVELLO, MARCO
Worked at Venice 1720. Instruments seldom seen, and then mostly confused with those of Marco Antonio.
--------------------------
Marcus Novello fecit
Venetia 1720
--------------------------

NOVELLO, MARCO ANTONIO
Son of the preceding. Worked at Venice 1771-1803. Had the artistic intelligence to ally himself under the banner of the Amati school. Workmanship thoroughly in accordance with the connoisseurs idea of neatness.

NOVELLO, PIETRO VALENTINO
Worked at Venice 1764-1797. Brother of the preceding. Pupil of Bellosio. Outline and medium arching after the Amati style, with a fascinating slight groove round the edges. Rather wide sound-holes with large bottom curves. Plentifully wooded with fine material. Scroll not very cleverly manipulated. Rich reddish-brown or yellow varnish. Finely responsive tone of a character highly suited to ensemble work. 250, 1960.
---------------------------------
Petrus Valentinus Novellus
discipulus Anselmi Bellosi
Venetiis. 1787
---------------------------------

NOVICKI, SIGISMOND PAUL
Worked at Minsk (Polish Russia), 1850-1865.

NRNBERGER, ADOLF
Born 1852. Died 1914. Worked in 20th year at Dresden, and assisted in the production of the Weichold bows. Established at Markneukirchen, 1875. Made many really fit and useful bows. Gave much thought to elasticity with strength of stick. Judiciously chosen wood brought to a fine sweep from heel to point. Comfortable to handle. Altogether a delight for soloists. 25, 1960.

NRNBERGER, CARL
Worked at Markneukirchen 1904. Violins of well executed design, masterfully varnished.

NRNBERGER, CARL GOTTLOB
Pupil of C. F. Knopf at Dresden. Died 1868. Good bows for violin, viola and cello. Especially famed for double-bass bows. 15 to 20, 1960.

NRNBERGER, FRANZ ALBERT (1)
Born 1826. Died 1895. Pupil of Bausch for bow making. Founder of the Bowmaking Guild at Markneukirchen of which he remained director for 25 years. Productions universally acknowledged to be without flaw. Of admirable length and balance. 25, 1960.

NRNBERGER, FRANZ ALBERT (2)
Born 1854. Son of the preceding. Established at Markneukirchen since 1880. Became famous throughout Europe for bows. Produced faithful representations of the Tourte. Voirin and Tubbs models. Each specimen possesses the greatest merit in point of sheer workmanship, but the maker also had sufficient discernment of the strength without over-weight, necessary for the vigorous playing of this modern age. Lineaments of the head especially outstanding. Stamped Albert .Nurnberger. Used extensively by virtuosi. Recipient of several medals at exhibitions. 25 to 30, 1960.

NRNBERGER, E.
Bow maker at Markneukirchen. Of international reputation well deserved. Superior construction, beautiful Pernambuco sticks, generally polished a brown shade. 15, 1960.

NRNBERGER, H. ROBERT
Born 1862. Established at Markneukirchen. Pupil of Pfretzschner. Worked for Heberlein, and Reichers at Berlin. Finely designed instruments satisfying the contemplation of the eyes.

NRNBERGER. JOHANN ADAM
Born at Klingenthal 1727. Pupil of Uebel. Worked at Markneukirchen 1761. Died 1809. Usual diversity of models. Ordinary workmanship and tone.

NRNBERGER, JOHANN GEORG
Born 1763. Son and pupil of Johann Adam. Worked at Pansa. Died 1829.

NRNBERGER, KARL ALBERT
Son of Franz Albert. Established at Markneukirchen 1908. Died 1931. Followed his fathers footsteps in the making of high quality bows to fulfil the exacting needs of present-day violinists. Resistance, flexibility, balance, and weight all beautifully regulated so that the soloist can pleasurably control and mould the desired tonal varieties. Eyes also captivated by the superfine workmanship. Succeeded by son Karl Albert, Junr. 12, 15, 1960.

NRNBERGER, PHILIPP PAUL
Born 1882. Son and pupil of Franz Albert (2). Established own workshop at Markneukirchen 1897. Enjoyed world-wide popularity, 1925. Died 1946. Bows which embody all admirable traits. Generally modelled after the French style, but also one strikingly original with a slightly exaggerated head. 12, 1960.

NRNBERGER, RICHARD
Born 1892. Worked at Markneukirchen 1922. Very good workmanship.

NRNBERGER, WILHELM
Established at Markneukirchen 1920. Mainly trade violins. Various old master models, and all details neatly finished.

NRNBERGER-SUESS, AUGUST
Born at Markneukrchen 1875. Studied bow making with his father Adolf and grandfather J. C. Suess the latter urging him to keep the name of Suess alive by adding it to his own as a son who would have done so was killed in America. Established at Novato (California) since 1912. Artist bows for all stringed instruments. Each production distinguished for gracefulness and strength. Heads most artistically shaped according to the various types copied. Every phase accurately attended to, consequently a delight to use. Finest well seasoned Pernambuco wood, and superbly mounted in silver or gold.

NYSTROM. JOHN EMANUEL
Born 1894. Amateur at rebr (Sweden).
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John E. Nystrm rebro
1950
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