OBBO, MARCUS (1)
Worked at Naples 1707-1760. A dealer who generally employed violin makers to supply the instruments into which he put his own label. Many of the productions are of the ordinary class, with thickish varnish, value about 10 (1925). There are others however, whose workmanship is faithfully consistent with what may be expected from the Neapolitan school. These are flattish modelled somewhat after an Alexander Gagliano with a bit of a Stradivarius thrown in. Plainest dictates of good sense will adjudge the small and neat scroll, sound-holes and purfling, as being satisfying to the eyes. Very pretty wood throughout. Transparent orange-yellow or brownish-yellow varnish, one or two specimens quite beautiful with a brownish varnish having a yellow tint running through like a sunset. Responsive, clear, liquid, and agreeably penetrating tone. 250, 1960.
-----------------
Marcus Obbo
Napoli. 1754
-----------------
OBBO, MARCUS (2)
Worked at Naples 1803. Principally produced guitars and mandolines. A few violins (possibly made by assistants) bear his label. Ordinary instruments not happily wedded to the customary Neapolitan style.
---------------------------------
Marcus Obbo fecit
Strada S. Ferdinando n 56
Neap. Anno 1803
---------------------------------
OBERBERG, VLADIMIR
Principal maker in Moscow 1927. With artistic conscientiousness for his guide, he penetrated well into workings of the Cremonese. Characteristics of the Stradivarian and Guarnerian not servilely appropriated, but allowed incorporation with his own mental processes, a really clever weaving of well-spun thought. Violins, violas and cellos, generally having the measurements and varnish of the Medici Strad, 1716, or of a red Guarnerius. Made strenuous efforts to set up an Art Museum - a Stradivari House - at Moscow. where life problem of violin workers would be to discover the Italian secrets, etc.
OBERHOFFER, ENGELBERT
Resident at Vlklingen (Saar), 1924.
OBERKIRSCH
Born at Muhlheim, 1800. Worked at Rhodt (near Landau, Bavaria). Tyrolese style offering little attraction.
-----------------------------------------------
Gemacht von Carl
Oberkirsch in Rhodt bei Landau. 1839
-----------------------------------------------
(written)
OBICI, BARTOLOMAE (1)
Worked at Verona (Italy), 1670-1686. Some infection of the large type Brescian style has insinuated its way into these instruments. Excellent straight and even grain spruce but unusually very plain material for backs. We miss the conciliating influence of refinement in workmanship. Rich golden yellow varnish. Good quality of tone, but not especially brilliant. 95 (1927). Name sometimes given as Obizi and Obue. Several cellos, some with cedar wood for deck.
----------------------
Bartolomio Obici
in Verona 1684
---------------------
OBICI, BARTOLOMEO (2)
Worked in Verona 1750-1762. Rather free modelling after the Maggini style, but slightly narrower. Dark yellow-brown varnish. Used particularly fine acoustical wood from which breathes a noble and mellow tone. Sometimes inscribed his name as Obizi.
OBICI, PROSPERO
Worked at Marano sul Parano (Modena), 1880. Chiefly a repairer but produced a few violins and guitars. Workmanship not wholly indifferent. Value seldom exceeds 20.
OBIZZI, MARQUIS TOMMASO DEGLI
Collector, who repaired instruments. Resident at Padua. Violin preserved in the Museum at Vienna.
---------------------------------------------
Tommaso Degli Obizzi
ristaurai adi. 3 Giugno 1769. Padova
---------------------------------------------
OBRECHT, MATHIAS
Resident at Colmar (Alsace).
---------------------------------
Rpar par M. Obrecht
rparateur a Colmar. 1819
---------------------------------
OBRIEN. VINCENT
Born 1911. Amateur. Resident at Ozone Park (Long Island) 1935. Pupil of Nebel. Good copies of Strad, Guarnerius and Stainer. Very old woods. Own formula of oil varnish - golden shade.
OCTIGAN, WILLIAM I.
Manager of the violin department of Allans music warehouse Melbourne (Australia). Largely self-taught after procuring a set of tools from Hill and Sons (London). Much interesting ground work, ultimately resulted in unmistakably excellent achievements. Having tolerably extensive opportunities of examining valuable violins, he soon became proficient under their different impressions. Workmanship analogous to that of any expert craftsman. Outline and modelling perhaps subject to criticism as the originalities have not yet proved any advance on old established styles. No uncertainty of hand in the cutting of the scroll. Nothing crude or unfinished on any part of the instrument. Little or no appearance of unevenness in the varnishing, usually amber-brown. Tonal results absolutely satisfactory. Instruments well wooded, and the various thicknesses perfectly proportioned. Finest quality and handsome material always used.
--------------------------
W. T. Octigan No. 1
Maker
Melbourne 1923
-------------------------
----------------------------
William T. Octigan
No. 2 Melbourne 1924
----------------------------
ODANI, GIUSEPPE MORELLO
Worked at Naples 1730-1760. Neither his mentality nor craftsmanship matured to any great heights. Very dark red-brown varnish which reflects little credit on his taste. Body length 36 cm.
------------------------------
Giuseppe Morello Odani
in Napoli, 1738
------------------------------
ODDONE, CARLO GIUSEPPE
Born at Turin, 1866. Pupil of Rinaldi. Worked in London for F. W. Chanot and Carlo Andreoli, 1898-1901. Established at Turin, 1901. Died 1936. Clever copyist of the Stradivarius and Guarnerius models, also adopted one of his own, and occasionally imitated Rocca. Exceptionally well built instruments with every detail carefully finished. Splendidly chosen wood. Backs of strong figure. Generally dark red varnish rather greasy looking, but there are a few with a transparent orange colour. Fine tone, brilliant and clear, particularly suitable for orchestral work. 50 (1927). Constructed 300, all numbered on the label. Also branded on tailpiece pin. 175, 1960.
ODOARDI, ANTONIO (1)
Worked at Poggia and Ascoli, 1740-1760. 125, 1960.
ODOARDI, ANTONIO (2)
Named Il Lanaro. Worked at Ascoli (Italy), 1800. Ordinary construction, varnish and tone. 125, 1960.
ODOARDI, JOSEPH
Born at Poggia, 1746. Died 1786. Son of Antonio (1). Named Il Vilano dAscoli (Peasant of Ascoli), where he worked. This peasant, practically self-taught in the principles of violin making, died in 40th year, but left about 200 instruments that show considerable achievement in sweet tone, and point to some merit of upholding a certain standard of excellently neat workmanship which compels our acquiescence in their favour. Models vary. Some have Stainer-like high arching, others remain under the influence of Mariani and Sacchini, and a few of flatter arching forcibly remind of a Montagnana, though workmanship does not reach the same perfection. Measurements of one dated 1783: body-length, 13.15/16 inches; upper bouts, 6-1/2; middle, 4-1/4; lower, 7.13/16. Ribs generally conspicuously deep. Attractive edging. Very graceful sound-holes, finely poised scroll, usually of unfigured wood. Excellent yellow-brown or dark brown varnish. Tone seldom other than small, though of warm quality. Experimented with different kinds of wood in the hope that he would lead himself to something extraordinary. His conjectures proved abortive, particularly as most of his experiments were with the plantain tree wood, known for its slight durability.
-----------------------------------
Joseph Odoardi Asculi, 1779
-----------------------------------
(large type)
-------------------------------------
Joseph Odoardi fecit in Picino
prope Asculum, An 1786
De ligno Plattuae
-------------------------------------
(small type; decorative border)
---------------------------------------
Joseph Odoardi filiusAntonii
fecit prope Asculum 1784 opus
No. 149
---------------------------------------
Some violins labelled with Cremonese and Brescian names. Up to 400, 1960.
ODULF, GUSTAF
Born 1899. Amateur at Stockholm.
---------------------
Gustaf Odulf
Stockholm 1950
---------------------
(block letters
OEHBERG
see HBERG.
OEHRMANN
see HRMANN.
OELLING, JOHANN VALENTIN
Born 1822. Died 1899. Worked at Crawinkel. Violins of rather pretty design, though artistically the outline needs firmness. Workmanship shows no imperfections of inexperience. Continuity of touch plainly evident in the purfling. Readiness of application results in a beautifully laid varnish. Excellent tonal quality though rather small.
OERTEL, HERMANN
Established at Vienna, 1894-1908. Nicely designed instruments, with a slight change (not an improvement) in outline from the Cremona type. Talented and ingenious workman.
------------------------------
Modell Stradivarius
Louis Oertel. Hannover
1895
-----------------------------
OERTEL, LOUIS
Established at Hannover, 1866-1926. Music publisher. Employed several workmen for violin making. Superior trade violins, yellow varnish.
OETTEL, ARTHUR
Established at Markneukirchen, 1878-1925. Bows ingeniously balanced to facilitate the artistic production of tone.
OGLIO, DALL
see DALLOGLIO.
HBERG, JOHANN
Born 1723. Died 1779. Worked at Stockholm from 1758. Rather well made instruments, though not of absolute uniformity in point of finish. Somewhat Stainerish in general contour. Every liberal mind towards the Swedish school, and the deductions of enlightened reason, will arrive at the figure of 50 as being a fairly accurate estimation of the tonal value. (1945). Yellow or dark brown varnish. Generally prettily figured wood. Also produced cheap violins which have injured his reputation. These instruments are without purfling, very narrow ribbed, inartistic bulging, and have the common appearance of peasants fiddles. Lalbels - bearing the three Crowns of the Swedish Coat-of-Arms, and the letters I.O.B. underneath.
---------------------
Johann hberg
Stockholm. 1768
---------------------
Produced a few excellent cellos (reputed to be superior to the violins).
OHLHAVER
see REVALO.
OHLSSON, EMIL
Born 1892. Amateur at Nykping (Sweden).
OHLSSON, EMIL E.
Born 1896. Resident at Stockholm. Won gold medal, 1948. Splendid curvatures of outline, scroll, and soundholes. Excellent reddish-brown or yellow varnish.
--------------------
Emil E. Ohlsson
--------------------
OHLSSON, JOHN
Born 1893. Amateur at Emmaboda (Sweden).
HRMAN, A.
Swedish musician attached to the Court at St. Petersburg.
-------------------------------------
Renouvel par Andr Ohrman
Suedois musicien la court de
St. Petersbourg le 24-1-1777
-------------------------------------
OLDHAM, THOMAS
Resident at Tewkesbury (Glos.), 1810-1825. Little known.
OLIVER, FREEMAN ADAMS
Established at Boston (U.S.A.), 1886-1898. Stradivarian modelling with slight variegations. Altogether an interesting design with considerable freedom of conception. Well rounded and graceful curves. Attractive wood, splendidly varnished.
-------------------------------
Freeman Adams Oliver
fecit Bostonia anno 1897
-------------------------------
OLIVER, JAMES
Resident at Reading, 1808-1846. Fair modelling, but wood frequently chemicalised. Comparatively sweet tone at first, now consumptive.
OLIVER, NELSON
Worked at Melbourne (Australia), until 1924. Splendid reputation as a maker, also known in the city as one of the best orchestral players. Rather partial to the Amati model, and presents that pretty form with considerable ability. Splendid brown varnish of own preparation. Persuasive kind of tone without much strength. Several used by the professional players in and about Melbourne.
------------------
Nelson Oliver
Maker
Melbourne
------------------
OLIVERI, FELICE
Worked at Turin, 1883-1908. Son of Vincenzo. Picturesque imitator of the Pressenda and Rocca styles. Nothing formal or stiff in the modelling. Terminations of all curves beautifully finished. Fine wood heightened by varnish which may sometimes be compared to the rich hues of the setting sun. 120, 1960.
OLIVERI, VINCENZO
Worked at Turin, 1878-1889. Though not a genius, he produced much that merits warm appreciation. Instruments that call out for more justice from connoisseurs and players. 110, 1960.
OLIVOLA, FRANCESCO
Worked at Rome and Sarzana, 17th century.
OLOFSEN, AXEL
Enthusiastic amateur. Resident at Olands Staf by, Upsala (Sweden), 1894. Exhibited a few ordinary violins at Stockholm, 1897.
OLOFSEN, A. J.
Amateur. Resident at Gothenburg (Sweden). Exhibited well modelled violins at Stockholm, 1897.
OLRICHS, DIEDERICH
Worked at Lbeck, 1650-1668. Well modelled violins of medium arching, poor quality varnish, sluggish tone because the few specimens have never been exercised by alert playing.
-------------------------------
Diederich Olrichs
Geigenmacher in Lbeck
1659
-------------------------------
OLRY, J.
Pupil of Georges Chanot. Worked at Amiens (France), 1825-1860. Variable in workmanship, some instruments quite excellent, others heavy in design and altogether commonplace. Best work conspicuously follows Stradivarian modelling everything well conceived. Occasionally medium arched modelling. Wood frequently of pretty flame. Scroll generally rather dignified. Yellowish or brownish red varnish of good texture. We do not participate in the ardent admiration exhibited by some French players regarding the quality of tone. Best specimens valued at 25. Inferior instruments often with dark red varnish. 12.
-----------------------------------------
Olry, Luthier, rue des Trois
Cailloux, No. 49. Amiens, 1833
-----------------------------------------
Some labels give Paris as the place of construction, a practice not uncommon in France, to impress certain buyers uninitiated in the mysteries of fiddle trading.
OLSEN, ANTON GUSTAV
Resident at Drammen (Norway) 1926. invented a violin-shape instrument having an inserted body provided with auxiliary strings.
OLSEN, ENGEL
Worked at Blotveit (Norway) 1770-1792. Made Hardanger fiddles.
OLSEN, FRANS JOSEF
Resident at Trnas (Sweden). Won silver medals for violins and guitars, 1925.
OLSEN, LARS JORGEN RUDOLPH
Born at Copenhagen 1889. Apprenticed to Hjorth and Sons at Copenhagen 1904-1909. Pupil of Otto Mckel at Dresden for four years; worked a few months at Berlin and Amsterdam. Crossed to America and established at New York, 1914. Worked a few years for John Markert & Co., then re-established own workshop in Third Avenue. An intelligent lover of art with a perceptive mind who has given us splendid reproductions of the characteristics of Stradivarius, Guarnerius, Amati and Lupot specimens. Tonal quality very convincing to forcible players. Oil and spirit varnish, varying from transparent yellow to dark red, applied perfectly. Workmanship and tone cannot possibly incur obloquy from the severest critic. Also produced bows which equal the French for neatness and balance.
--------------------------------------------
Made by
Rudolph Olsen
Violin & Bow Maker
651 Third Avenue. New York City
Anno 1915
--------------------------------------------
Some labels without made by.
OLSEN, O. H.
Born in Denmark. Resident at Paynesville (Minnesota), 1911-1926.
OLSON, ANTON
Born in Sweden 1883. Went to Worcester (Mass.) 1903. Productivity of 70 violins and 12 cellos up to the year 1940. Stradivarian and Guarnerian modelling, also Klotz and Montagnana. Reddish-brown to golden oil varnish. Violas modelled after a Gasparo da Sal.
OLSSON, EDVIN
Born 1909. Resident at Marmaverken (Sweden).
OLSSON, J. E.
Born 1899. Amateur at Hofors (Sweden).
OLSSON, KARL HARRY
Born 1903. Amateur at Karlskoga (Sweden). Strad modelling, reddish-brown varnish. Name and address written inside.
OMAHONEY, JAMES
Amateur. Resident at Mitchelstown (Cork) 1870-1895. Produced about 60 violins which satisfied violinists in Southern Ireland.
OMOND, JAMES
Born 1833. Clock maker. Died 1907. First instrument dated 1872. Produced 300 violins, violas and cellos. Strad and Guarnerian modelling. Wood generally too thick. Amber varnish of various shades. Tonal quality often muffled.
-------------------------
James Omond
Stromness. Orkney.
Scotland. 1893
-------------------------
-------------------------
James Omond
Stromness. Scotland
A.D. 1904
-------------------------
(copper-plate lettering)
ONGARO, IGNAZIO DALL
Worked at Venice 1747-1783. Violins not united to the greater artistic qualifications, though carefully modelled. Tone lacks equilibrium as well as power. Sometimes not labelled, but branded with the name Ongaro.
ONKEN, KARL
Resident at Bremen (Germany) 1898-1908. House painter and dealer in dye-stuffs. Became interested in violin making and dealing. Advertised certain new principles of bettering the tone of old instruments. His methods have been variously criticised - mostly adverse.
ONIZIN, NICOLAUS
Worked at Mittenwald 1760-1793. Instruments bearing scant justice to pretty modelling. Workmanship rather apt to scamper away from neatness.
----------------------
Nicolaus Onizin
Mittenwald. 1793
----------------------
(written)
OPEL, WALTER
Born at Erlbach (Saxony) 1897. Apprenticed to Max Heischkel at Erlbach; worked for Ludemann at Cologne, and for Stork at Strassburg. Established at Stettin (Pommerania) 1925. Violins and cellos of Stradivarian design. Spirit oil varnish of golden yellow shade fully transparent and of fine texture.
--------------------------------
Walter Opel
Geigenbauer. Stettin 19. .
--------------------------------
OPFERMANN, JOHANN GEORG
Worked at Gotha 1774-1798. Somewhat high-built instruments, but beautiful varnish.
---------------------------------------------
Johann Georg Opfermann
Instrumentenmacher in Gotha, 1797
---------------------------------------------
OPIE, A. J.
Amateur. Resident at Portsmouth 1917. Employed by the Admiralty as a specialist in testing and designing various forms of fighting ships. Made a number of violins of commendable originality.
ORBAN, IMRE
Born 1898. Worked at Budapest 1935. Splendid workmanship and varnish.
ORESTAD, IVAR
Born 1883. Worked at Bod (Norway). Strad outline and sound-holes with Guarnerian arching. Author of The Riddle from Cremona (Oslo, 1943) - The Sounding Jungle, and The Stradivari Violin
----------------------------
Ivar Orestadt (F.M.D.)
Nr. Bod 19. .
----------------------------
ORLANDI, E.
Born at Cremona 1929. Received diploma at the Cremona Competition 1949 as the youngest exhibitor.
--------------------------------------------------------
Maestro Liutaio
Ernesto Orlandi
Allievo dalla Scuola Internazionale di Liuteria
di Cremona
fece anno 1949
--------------------------------------------------------
with signature)
ORLANDI, ORLANDO
Born 1875. Cabinet maker. Resident at Ascoli Picino. Mandolines and guitars principally. Also a few violins.
-------------------------------------------
Orlando Orlandi
Fabbricante di mandolini e chitarre
anno 19 . . Ascoli Picino
-------------------------------------------
ORLANDINI, A.
Born 1909. Worked at Leonardo (near Parma). Won diploma of honour at Cremona 1949. Attractive individualistic modelling.
--------------------------
Archimede Orlandini
fecit in Parma
-------------------------
(with signature)
RLECKE, HEINRICH CHRISTIAN
Worked at Tangermnde (Saxony) 1829.
ORNATI, GIUSEPPE
Born at Albairate (Milan) 1885. Son of Carlo. Pupil of Bisiach. Worked at Milan 1915. Gold medals at Rome (1923), and Milan (1924). Excellently free treatment of Stradivarian or Guadagnini models, also one with original deviations from the orthodox. Superb workmanship in all details. Oil or spirit varnish, golden-brown and an especially transparent brownish-red. Refreshing tone far from new.
--------------------------------
Giuseppe Ornati
fece in Milano anno 1926
--------------------------------
(G.O.M. within floral wreath on right, and signature)
--------------------------------
G.O.M. Giuseppe Ornati
fece in Milano Anno 1923
--------------------------------
(with signature)
Also branded Giuseppe Ornati. Milano. within an oval. 80, 1960.
ORSELLI, ENRICO
Born 1891. Pupil of Soffritti. Worked at Pesaro. Produced up to year 1949, 180 violins, 200 violas, 80 cellos and 8 double-basses. Fine Strad or Guarnerian modelling. Beautiful golden-yellow varnish on reddish base. 95, 1960.
--------------------------------------
Orselli Enrico
discepolo di Soffritti Ettore
de Ferrara frce in Pesaro 1949
--------------------------------------
------------------------------
Orselli Enrico di Ferrara
fecit in Pesaro 1910
------------------------------
-------------------------------
Orselli Enrico alunus
di Ettore Soffritti di
Ferrara fecit Pesaro 1942
-------------------------------
-------------------------
Orselli Enrico feccit
in Pesaro 1923
-------------------------
------------------
Enrico Orselli
Liutaio
Pesaro 1948
-----------------
ORSELLI, JOSEPH
Worked at Rome 1790-1820. One of the best makers resident in that city. Pretty modelling. Scroll, sound-holes and purfling executed with a dexterously conducted hand. Well chosen and prettily figured woods. Varnish of splendid transparency. 60 (1932). Also cellos of similar excellence. 175, 1960.
------------------------------
Joseph Orselli Romanus
fecit Romae Anno 1792
------------------------------
ORTGA, ASENCIO
Son and pupil of Silverio. Worked at Madrid from 1795. Died 1845. Very ordinary modelling and workmanship, sluggish and dull tonal quality. Attained notoriety by indifferent handling of the cello made by Stradivarius for the Spanish Court. 75, 1960.
-----------------------------
Ascencio Ortga lo Lijo
por encargo en Madrid
Anno 1799
----------------------------
--------------------------
A. Ortega Lijo
en Madrid ano 1844
--------------------------
ORTGA, MARIANO
Son and pupil of Silverio. Worked at Madrid, 1820-1855. Modelling and workmanship generally not meriting much praise, but one or two superior specimens are known as possessing a full tone of Italian sonority. 85, 1960.
ORTGA, SILVERIO
Worked at Madrid, 1770-1820. Violins that make no special impression. General contour rather cramped. Workmanship passable, scroll quite excellent. Small soundholes not ungraceful. Sometimes a dullish brown varnish, occasionally a red of finer texture. Produced only a few instruments. 80, 1960.
------------------------------------
Compuesto fo Silverio Ortga
En Madrid Ano 1785
Silverius Ortega fecit
Matriti, anno 1797
-----------------------------------
ORTH, LOUIS
Worked at Pont Mousson (France), 1870.
ORTON, PHILLIP
Worked at Hereford, 1845-1860. Very ordinary conception and workmanship with no special grace or neatness.
ORY, FRANOIS
Worked at Paris, 1790-1814. Generally of rather massive proportions, with all parts harmoniously balanced, flattish modelling. Dark brown varnish not particularly transparent. Strong tone with very slight appeal of sweetness. Often onepiece backs of effectively flamed material. Known for several splendid guitars.
---------------------------
Ory
Luthier Paris, 1790
--------------------------
Sometimes branded Ory Paris in block letters. 75, 1960.
ORZELLI, GIUSEPPE
Pupil and successor of Ugar at Rome, 1791. Good workmanship.
ORZERO, TOMMASSO
Worked at Turin, 1850. Votary of Guadagnini who has rather successfully portrayed the peculiarities of that model - stability contrasting with considerable delicacy of workmanship. Tone pleasingly responsive to the good amateur player.
OSBORNE, C. E.
Resident at Rockford (Illinois), 1912-1927.
OSBORNE, HENRY
Resident at Sherborne (Dorset), 1860. Mediocre modelling, poor varnish, meagre tone.
OSBORNE, SAMUEL
Cabinet maker at Leamington Spa, 1890. Made a few violins, cellos and basses, of fair workmanship.
OSMOND, WILLIAM
Resident at Evesham, 1810-1835. Amateur who occasionally bestowed careful workmanship among several indifferently designed.
OSTENSSON, KNUT
Born 1868. Worked at Trnas (Sweden). Reputed to have made 400 violins, generally of good design, workmanship, varnish and tone.
OSTERGREN, REINHOLD
Amateur at Alvsj (Sweden). Won silver medal, 1925.
OSTERHOLDT, HUGO
Maker of various stringed instruments. Established at Iserlahn (Westphalia), 1908-1922.
OSTERTAG, GEORGE A.
Born at Augsburg (Bavaria). Apprenticed to X. Kerschensteiner. Worked in England and Scotland, and Hamburg, 1890. Went to U.S.A., 1898. Worked at Chicago, 1920. Employed by the Pepin Perfect Tone Violin Company. Later established own workshop in Van Buren Street. Finally, went to Silesia.
OSTLER, ANDREAS
Worked at Breslau, 1730-1770. Large pattern representing certain features of the Stainer model. Everything fully evidencing talent and mature study, though workmanship is not especially conspicuous for refinement. Always handsome wood. Yellow orange or yellow brown varnish effectively applied. Also cellos and viol-damores.
-----------------------------
Andreas Ostler, Lauten
und Geigen Macher in
Breslau. Anno 1754
----------------------------
OSTLER, ANTON
Born at Mittenwald, 1895. Studied at the violin making school in 13th year. Established own workshop, 1918. Very talented maker one who has compelled independent and self-exerted thought and, in adopting the old principles to modern designing, has drawn largely upon inventive resources so as to entirely take off the appearance of servile plagiarism. Woods of finest quality, orange shaded oil varnish of soft and silky aspect. Very fortunate also in arriving at a tonal quality so soon to be unrestrainedly recognised as really fine, both by soloists and connoisseurs. 90, 1960.
OSTLER, FRANTZ
Worked at Vienna, 1704. Died 1729. Interestingly broad pattern, not too severely arched. Table wood splendidly acoustical. Back and ribs usually of pretty broad flamed material. Scroll always of pear tree wood. Golden yellow varnish with reddish shading. Rather scarce. 30, 1925. 75, 1960.
----------------------------------
Frantz Ostler
Lauthen und Geigenmacher
in Wienn. An. 1727
----------------------------------
Sometimes two-lined with same wording.
OSTRANDER, CARL THOMAS
Born 1883. Played violin in 7th year. Son and pupil of Eugne. Apprenticed to Kissner. Worked at Chicago (1914), and Seattle, 1917. Also played cello and viola. Most attractive Strad modelling enhanced by impeccable workmanship. Yellow brown varnish with ancient aspect.
---------------------------
Carl T. Ostrander
Violin Maker
19. .
408 Spring St. Seattle
---------------------------
(brown paper, with design of a violin and bow - and the words sempre qualitas)
OSTRANDER, EUGNE
Born 1849. Worked at Ithaca and Seattle. Died 1927. Splendid designs, neat workmanship, choice woods and good varnish well applied. Also constructed pretty Spanish style guitars.
--------------------------
Made by
E. Eugene Ostrander
Ithaca 18. .
--------------------------
OSTRIZEK, ANTON
Established in Wien, 1928. Exhibited Lilliputian violin (38 mm.), at Vienna, 1937.
OSTROY (OSTROVSKY), JOSEPH
Born at Zegestov (Carpathian Russia), 1897. Went to U.S.A. 1918. Repairer for Wurlitzer at New York, 1940. Not many instruments - generally Guarnerian. Maker of a naturally oxidised oil varnish, rich orange-brown, unusually transparent and of soft silky texture. Also bows branded with name.
OTHO, KARL AUGUST
Born 1836. Collector and double-bass player (member of Gewandhaus orchestra) at Leipzig. Died 1892. Invented a new form bridge for 5-string double-bass, to cope with the passages written by modern composers. Also constructed replicas of ancient stringed instruments.
OTT, ANDREAS
Born at Fuessen (Bavaria). Worked at Prague, 1648-1663.
----------------------------------
Andreas Ott
Lautten und Geigenmacher
in Prag. Ao 1657
----------------------------------
OTT, JOHANN
Worked at Fuessen, 1706-1736. Produced violas, viols and basses. All characterised by the elegance of design appertaining to the particular Bavarian school. Thoroughly sound in construction, and to some extent to be considered as excellent models for the imitator. Small three-stringed basses frequently exhibited at Munich and other Bavarian towns.
--------------------------------
Johannes Ott. Geigen und
Lauttenmacher in Fuessen
Anno 1727
--------------------------------
OTT, JOSEPH
Worked at Langendorff (Moravia), 1850.
OTTLEY, JACOB
Worked at Bristol, 1800. Excellent modelling wrought by the intelligent earnestness of an enthusiast. Splendid tonal quality occasionally winning the golden opinion of a soloist.
OTTO, AUGUST ADOLF
Born 1865. Died 1904. Worked at Markneukirchen. Zeal and much energy produced many violins completely satisfactory for ordinary orchestral purposes.
OTTO, BERNHARD AUGUST
Born 1882. Pupil of Scherzer. Worked at Markneukirchen. Excellent violins and cellos, also lutes and copies of ancient viols.
OTTO, CARL AUGUST
Fourth son and pupil of Jacob August. Born at Jena, 1801. Settled at Ludwigslust (Mecklenburg), 1832. Died there, 1883. Principal maker to the Mecklenburg Schwerin Court. Best period from 1840 to 1865, and these instruments are excellent from all points of view. Though trained in the atmosphere of his fathers researches, he remained more or less on the fringe of those ideas. Ultimately emancipated himself from the influential vitality of serious conception, and superintended the making of commoner violins. Never succeeded in gaining much in the matter of tone. His best specimens do not come up to the expectations of a 25 purchase, and posterity will have little to do with those of his later period. Unsatisfactory varnish of a dark shade, being only slightly transparent and too brittle.
--------------------------------
Hof-Instrumentenmacher
Karl Aug. Otto
Ludwigslust 1865
--------------------------------
(within an oval shaped border)
--------------------------------
Carl August Otto
Hof-Instrumentenmacher
in Ludwigslust, 1834
--------------------------------
(German lettering)
OTTO, CARL CHRISTIAN
Second son and pupil of Jacob August. Born at Weimar, 1792. Established at Halle. Died 1853. Had a strong prevailing admiration for whatever came to him with the attributes and authority of the past. Combined new born aspirings with retrospective gleanings from the Cremonese, thus giving to inherent talent an energetic conception. Produced many violins calculated to excite cordial satisfaction if not supreme admiration. Flattish modelling, splendidly developed, artistic in design and workmanship. Used excellent wood, and judiciously applied a lightbrown varnish. Tonal quality rather pleasing and mellow. Well-known for lyraguitars.
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Verfertigt
von
Carl Christian Otto
Instrumentenmacher in Halle
1820
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(stight decorative border)
OTTO, CARL WILHELM FRIEDRICH LOUIS
Fifth son and pupil of Jacob August. Born at Jena, 1808. Worked at Hamburg, Amsterdam, Copenhagen, Gothenburg, and finally Stockholm. Died there, 1884. Influenced by and concentrated on the art principles emanating from his fathers genius. Modelling and workmanship without a flaw. Managed to infuse a kind of ltalian tone, not large, but rather penetrating, and clearly mellow. Made as many violas and cellos as violins, the former being much sought after.
80, 1960.
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C. W. F. Otto, Goothburgi
Faciebat Anno 18. .
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(name in prominent black lettering)
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C. W. F. Otto
Saiten-instrumentenmacher
Stockholm
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Verfertigt von
C. W. F. Otto
Stockholm
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OTTO, ERNST ALBIN
Born 1863. Died 1917. Worked at Markneukirchen. Violins that eschew much of the German mannerisms. Graceful modelling though not particularly distinctive. Scroll and sound-holes carefully arranged to have a natural appearance. Hard resinous orange varnish on yellow background, brittle and apt to crackle.
OTTO, GEORG AUGUST GOTTFRIED
First son and pupil of Jacob August. Born at Weimar, 1789. Worked at Jena from 1818, and ultimately succeeded to fathers business there. Died 1857. Modelling of considerable vigour in outline. Arching falling away most beautifully towards the margins. Sound-holes perfectly symmetrical, with capitally defined wings. Scrolls frequently possessing an unusual freedom for German wrought work. Varnish, though not greatly transparent, of very good texture, and well applied. Tonal quality quite worthy of the best orchestral players. 70, 1960.
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Georg Aug. Gottf. Otto
Instrumentenmacher
in Jena 1827
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OTTO, GUSTAV
Born 1831. Died 1905. Worked at Matkneukirchen. Attained good reputation as an adept pupil of Bausch.
OTTO, GUSTAV KARL
Born 1859. Worked at Markneukirchen. Died 1924. Good modelling and varnish.
OTTO, HEINRICH FERDINAND
Born 1834. Died 1905. Worked at Markneukirchen. Multifarious difficulties of construction offered no impediment to the exercise of his skill. Artistry fully exemplified in modelling, workmanship, and varnishing. German violinists speak highly of the tonal quality. 90, 1960.
OTTO, HEINRICH WILHELM
Third son and pupil of Jacob August. Born 1796. Died 1858. Worked at Amsterdam, and later at Berlin. Prototypes for perfection came from the Cremonese. Copied these traits so minutely that several specimens have passed critical eyes as being genuine Amatis. Unfortunately many are too weak in the wood, and there are evidences that he indulged in chemical process at various short periods of experimenting. Also produced several cellos of slight value. 45, 1960.
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Heinrich Otto
Geigenmacher in Amsterdam
1825
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Verfertigt von
Heinrich Otto in Berlin
1834
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OTTO, HERBERT BARTHOLD
Born 1903. Established at Markneukirchen, 1938
OTTO, HERMANN
Son of Ludwig. Born 1859. Died 1884. Worked with his father at St. Petersburg. Only lived twenty-six years, but produced many excellent instruments, which generally bear his fathers label.
OTTO, JACOB AUGUST
Born at Gotha, 1760. Imbibed his subsequent proclivity for experimental theorising in the local workshop of Franz Anton Ernst. Studied music, mathematics, physics, and acoustics. Settled a few years at Weimar as chief repairel and maker to the Court. Produced at this time, a few violins after the Cremonese models for members of the Chapel orchestra; also six violins, one viola, and one cello for the Royal Chapel at Copenhagen. Prevented from making more for a period of sixteen years, owing to Duchess Amelia of Weimar introducing the guitar into her Court, 1788. Ordered to make several guitars for this patron and members of the nobility. Great popularity ensued, and he was kept busily engaged on the construction of this instrument by commissions throughout Germany. The guitar then had five strings, but he added a sixth or low E string at the request of the celebrated Naumann at Dresden, an innovation henceforth always adopted. Also the first to suggest the use of covered strings for the D and A. Subsequently resumed violin making, and did not relinquish until death. Worked at Halle, Leipzig, Magdeburg, Berlin, and finally at Jena. Died at Lobeda, 1829. Possessed great dexterity of hand in restoration of old instruments. Delved into the so-called secrets of the Cremonese, attempted to improve on their methods - gave to his art all the power and spell of earnestness, but signally failed in the matter of remarkable tone. Experimented with all kinds of measurements, thicknesses, woods and varnish. Result - wonderful display of technical ability, but not the tone accordant with his motives. Reason and judgement plainly assert these instruments to be inferior to those of prior epoch. Many too thin in wood, and have a sweet but small tone. Few have found their way to this country. Author of a widely read book - The Structure and Preservation of the Violin (Reeves).
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Reparirt
von Jakob August Otto
Halle 1816
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(written and printed)
Sometimes Halle crossed off, and Lobeda substituted. Some cellos have too narrow a contour, and occasionally the marginal ideas seem indefinite, instruments utterly condemned by soloists. 70, 1960.
OTTO, LOUIS
Son of Carl August. Born at Ludwigslust, 1844; pupil of his father 1860-1865; worked with his cousin Ludwig at Cologne, 1865-1866; engaged by Reichers at Hannover until 1872. Established own workship at Dusseldorf 1872, ultimately having several assistants.
Died 1920. Appointed maker to the Court. Produced about 300 violins, 50 violas, 50 cellos, and many double-basses. Gained first prizes at the Dusseldorf Exhibition, also at Melbourne and Chicago. Emile Sauret (famous French virtuoso) used one of his violins for several years. First period instruments follow the models of Amati and Guarnerius. Considerable achievement in delineating the peculiarities of each model. Later, almost exclusively became a semi-copyist of the large Stradivarius design, but did not allow anything to fetter his free spirit and in giving rein to certain little individualities, never lost that intuitive sense of beautiful symmetry. Outline and sound-holes delightfully Stradivarian. Whole contour one of splendid robustness. Built for ploduction of a very large tone, with rather remarkable penetrating resonance. Ribs unusually deep. Plates perfectly attuned and graduated. Scroll of strong individuality, two never quite alike. Entire workmanship very fine indeed. Purfling merits all possible praise. Red-brown oil varnish of great transparency and resplendent fire, prepared from own formula and magnificently applied. Five-stringed double basses used by many of the finest Continental players. Particularly wonderful in point of clarity and mellowness. Constructed in a unique style though largely based on the Stradivarius model. 90, 1960.
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Louis Otto
fecit Dsseldorf anno 1899
No. 289
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OTTO, LUDWIG
Son and pupil of Georg August Gottfried. Born at Jena, 1821. Worked at Erfurt, at Cologne 1855; and at St. Petersburg 1871. Died there, 1887. Clever inodelling on Stradivarian lines. Every instrument of consistent excellence. Tonal quality nicely resonant, and best specimens generally catalogued at comparatively moderate prices, yet strangely, much sought after. Splendid oil varnish of red shade, highly reminiscent of the Vuillaume style. Exhibited three violins, viola, cello, and double-bass at the London Exhibition, 1862. 80, 1960.
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Ludovicus Otto Coloniae
Reparavit Anno 1856
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Ludovicus Otto
Petropoli. Fecit anno, 1872
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OTTO, PAUL MAX
Born 1880. Surnamed Hamburger. Established at Markneukirchen, 1904. Name widely known for ingeniously made miniature violins of ivory, with a body only 4-1/2 cm. long.
OTTO, RUDI
Born 1906. Worked at Berlin, Brunswick and Bremen. Established at Erfurt (Saxony), 1946. Good Italian modelling.
OTTO, ULRICH
Born at Markneukirchen, 1872. Pupil of Paulus. Worked at St. Petersburg. Established at Carlsruhe, 1904.
OTTO, WILHELM
Son, pupil and successor of Louis. Born 1875. Established at Dusseldorf, 1900. Modelling either after Stradivarius or Guarnerius. Construction of the exterior very accurate and elegant. Scroll and sound-holes particularly fine. Oil varnish usually.
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Wilhelm Otto fec
Dusseldorf 1928
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(W circled)
OTTOMANUS
Worked at Constantinople, 1710-1720. Known for a few excellent cellos and double-basses.
OUCHARD, EMILE A.
Born at Mirecourt, 1900. Son and pupil of E.F. Worked at Paris, 1940-1946. Awarded gold medals at several French Expositions. Went to the State of Illinois, 1946. Magnificent bows with beautifully carved heads, perfect balance, and superb sweep of stick, finely selected pernambuco wood, mounted in silver or gold. Lewis & Son (Chicago) chief distributors. Stamped Emile Ouchard.
OUCHARD, EMILE FRANOIS
Born 1872. Bow-maker. Established at Mirecourt, 1924. Successor to the business of Cuniot-Hury. Died 1934. Intimately and thoroughly understood the needs of a soloist. Delightfully balanced and beautifully finished bows, at the reasonable prices of two and three guineas (1928). Awarded several gold medals. Stamped Emile Ouchard. 10, 1960.
OUTRAM, FREDERICK
Period 1810-1830. English. Name written in ink on the wood. Good workmanship, construction scientifically conceived. Really excellent tone.
OUVRARD, JEAN
Worked at Paris, 1720-1746. Studied with Claude Pierray. Dean of the Violin Makers Guild, 1743. Modelling reminiscent of a Stradivarius, and of smaller proportions than that of Pierray. Workmanship perfectly in keeping with artistry. Scroll and other details carefully executed. Fine-grain table wood, and invariably two-piece backs. Generally a trifle under-stocked with material according to the practice common in his day. Golden-yellow varnish, dry and brittle. Occasionally a deep brownish red of slightly more suppleness. Sweet, flute-like tone, rather persuasive in penetration. 40 (1920). Also produced cellos and six-stringed viols. 70, 1960.
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Ouvrard. Luthier. Place
de lEcole Paris
1735
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(bearing design of a harp - his shop-sign)
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Fait par J. Ouvrard
Paris 1726
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Treble Viol preserved in the Crosby-Brown Collection at New York, 1925. Deep model, with upper part of back sloping. Reddish varnish of dark shade. Crescent shaped sound-holes. Broad fingerboard, and six strings. Peg box terminating in an incurved scroll. Length, 25-1/2 inches; width, 7-1/8; depth, 3. Fine string Quinton in the Museum at Ble, with fanciful head of a female, and transparent yellow varnish.
OVERPECK, L. E.
Worked at Dayton (Ohio), 1890-1921. Manager of the Mink Music Co. Hand made violins from 100 to 500 dollars. Published a booklet on his Positive Method of Violin Construction, also explains his art of reconstructing a defective instrument into a high grade one.
OWEN, IVY RIMMER
Daughter of J.W. Born 1883. Studied the violin from infancy, and succeeded in becoming a very capable performer. Had lessons in wood carving from a Mr. Hamilton of Leeds, and ultimately entered her fathers workshop, where she distinguished herself in the art of violin construction. Stradivarian ideas faithfully delineated. Workmanship of splendid delicacy and accuracy. Great attention paid to the sloping of shoulders, rendering the instrument most comfortable. Sound-holes especially graceful. Tonal quality remarkably velvety.
OWEN, JOHN WILLIAM
Born at Leeds, 1852. Apprenticed to the engineering trade, but health gave way under heavy manual labour. After convalescence he took up violin repairing as a hobby, and became thoroughly enthusiastic. Bought books, gleaned several theoretical principles, chatted with local fiddle makers, also went to France to gain further insight into the art. Produced first instrument 1884. Called his residence Amati House. Built about 200 violins, violas, and cellos; and repaired over 4,000. Died 1933. Modelling after Stradivarian and Guarnerian principles, also one combining the two. Splendid outline, body length 14-1/8 inches. Nice curvatures all round, width across upper bouts, 6-5/8; middle, 4-3/4; lower, 8-1/4. Arching finely conceived and graduated. Full and strong edges, slightly turned up and smoothly rounded. Artistically designed waist curves, three inches from corner to corner. Depth of ribs, 1.9/32.
Sound-holes have no claim to novelty, but have the happiest effect in being of a fine long sweep, not too slanting, perfect graduation to centre of stem, and carefully finished wings. Solidity specialises the scroll, the fluting and broad curvature to the boss being very noteworthy. Inside work geometrically exact, all thicknesses properly and scientifically accomplished. Belly wood of strong reed, and backs of the usual figured material. Oil varnish of own formula, various shades from yellow to deep red, transparently brilliant. Tonal quality finely healthy, of bell-like clarity, completely even from bottom to top, and beautifully maturing with each successive year. Violas of similar characteristics. Cellos generally of fine proportions, and more arched than the violins, but there are a few specimens where the curve to the corners leaves soniething to be desired. Several double-basses of good orchestral tone. Excellently balanced bows bear his name. Label - artistically designed representation of a horizontal sound-hole, clefs and staves on the left, monogram on the right, and name along the middle:
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J. W. Owen
Maker
Leeds
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Date not on the label, but written on the bare wood after his signature. Played the violin since childhood, also had many pupils on the instrument, and was in considerable demand as an orchestral player. Studied harmony and composition from an early age.
OWESEN, ANTON JOHAN
Born in Norway, 1882. Originally a cabinet maker, he established himself as a violin maker in 1919 in Trondheim having been an amateur up till then. Made about 130 violins, up to the year 1959, as well as some violas and cellos. Also bows. Concentrated on Stradivarius and Guarnerius copies. Awarded gold medal at Exhibition in Trondheim, 1930 for a quartet of 2 violins, viola and cello. Outstanding craftsmanship and a noble singing tone have created a strong demand for his instruments and have given him the reputation as one of the very best violin makers and repairers in Norway. Also an expert repairer of woodwind instruments. Residing in Oslo in 1959, still in full activity in spite of his 77 years.
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Anton Johan Owesen
Fiolinmaker. Oslo 19 A.J.O
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Nr.
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(decorative border, and design of two medals with the wordsA.Gullmedalje, 1930, on the left) J,
OWESEN, LIEF ASBJORN
Born in Norway, 1914. Son of the above, with whom he works. Violins, showing a decided talent. Handwritten label.
OXLEY, JOSEPH
Worked at Cambridge, 1800. Modelling of long proportions, quite 14-1/4 inches body length. Fairly high arching, but finely graduated consequently no bulginess. Narrow ribs, possibly giving its somewhat excellent penetrating tone. Plentifully wooded, and covered with a brownish shade of varnish quite warm looking. Branded J. Oxley or Oxtey.