SABATHIEL, ALBIN
Born at Buda-Pesth, 1876. Pupil of Tanczer. Worked at Frankfort, 1905. Returned to Hungary, 1921. Died at Balaton, 1922. Cremonese models. Excellent achievements. Especially attractive varnish. Brilliant tone.
SABATIER
Amateur. Resident at Paris 1818, 1825.
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Fait par Sabatier
rue des Boucheries-Saint-Germain
Paris
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SABELSTRM, KARL
Born 1870. Amateur at Kraksmala (Sweden).
SABY, HENRY HUMPHREY
Born in Northamptonshire, 1860. Left native village in 12th year, went to Nottingham to study the violin with Gibson and Henry Farmer. Enthusiasm for old violins was even then a marked trait of his character, and avidly availed himself of every opportunity to see and to learn all about them. Actually became a dealer in 14th year. Studied violin-making for five years with W, Callow. Continued to collect and repair until 26th year, when he made himself recognised as a maker of consequence. Sailed for Cape Town 1890, and distinguished himself in that part of the world, not only as a maker and repairer, but as a collector and connoisseur of fascinating Cremonas and such-like. Won the only gold medal at the Cape Town Exhibition, 1904. Sitting in his workshop with a background of bow-saws, callipers, broken fiddles, and valuable ones in glass cases, he was happy and very prosperous, 1925.
Original modelling, very reminiscent of Stradivarian influences, but not near enough to be termed a copy. Workmanship shows the hand of discipline and close supervision. Entire freedom about the scroll and sound-holes. Varnish of own preparation (from a recipe in a work written by a Monk at Cremona 1735), golden-brown and reddish brown shades, applied with authority. Wood carefully chosen, and no misconduct in the thicknessing, purfling, or edges. Produced about 80 violins and some 20 violas. Experience as a performer naturally influenced his straight aim for imparting a tonal-quality of brilliant responsiveness, and the whole aspect of his instruments suggest the healthy strength which must rapidly mature. Catalogued at 20. Saby, Cape Town stamped in the place usually occupied by a label. Earliest productions stamped Saby, Nottingham, also branded at the end-pin. Made a double-bass 1880, Violin-shape of Guarnerian outline and arching, wood taken from the chancel of Bottesford Cathedral during the restoration of the edifice a year or two earlier.
SACCANI, BENIGNO
Worked at Milan, 1908-1912. Instruments exhibited at the Brussels Exhibition, 1910. Outline and arching not assuming a too-obvious licence in originality, workmanship flawless. Oil or spirit varnish of yellow shade, slightly less satisfying 25 (1920).
SACCANI, VITTORIO
Resident at Cadelbosco Sopra (Reggio Emilia). 1920-1940.
SACCHETTI, FRANCESCO
Resident at San Martino (Reggio Emilia), 1935.
SACCHINI, SABATINO
Worked at Pesaro (Italy), 1670-1686. Possibly a pupil of Mariani whose style he often imitated and improved upon. Also transcripted the Maggini outline with Amatese arching. Scroll, sound-holes and double purfling, each rather reminiscent of the Maggini. Workmanship not especially refined. Modelling rather small proportioned at times. Not always happy in tone but occasionally one meets with an example having a moderately full tone though never of ideal mellowness. 60 (1927). Also made pocket fiddles. 90 to 125, 1960.
--------------------------
Sebastiano Sacchini
da Pesaro lanno 16-
--------------------------
-------------------------
Sabbattino Sacchini
da Pesaro 1686
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Name sometimes given as Sechini.
SACCONI, FERNANDO
Born at Rome, 1895. Pupil of Rossi. Maker to the San Cecilia Academy in that city, 1925. Resident at New York, 1931. Splendid Stradivarian designs, also one of his own. Yellowish orange or reddish brown oil varnish. Eulogised by Arrigo Serati and other virtuosi.
-----------------------------
Fernando Sacconi
fece, Roma. Anno 1925
-----------------------------
Branded Fernando Sacconi, Roma under tail-pin. Made 60 violins, 15 violas and 25 cellos up to year 1942. Won gold medal for Quartet, 1937.
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Simone Fernando Sacconi
fece in New York anno 1947
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(S.F.S. in circle)
SACQUIN
Worked at Paris, 1830-1863. Pupil of Aldric. Modelling mostly after the Lupot-Stradivarian style, excellent design and fine arching. Sound-holes and scroll also the off-springs of the Lupot. Reddish orange oil varnish, plentifully used and with good effect. Tonal quality rather resonant and free, also of reasonable sweetness. 30 (1930). Cellos generally considered to be his happiest inspirations. Finer still are the double basses.
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Sacquin, luthier
rue Beauregard, 14.
Paris. 1853
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Name branded on the inner side of back. 75, 1960.
SACQUIN, NICOLAS
Worked at Mirecourt, 1775. Son of Philippe. Favourably illustrates Mirecourtian work. Good orchestral instruments.
SACQUIN, PHILIPPE
Worked at Mirecourt, 1770-1790. Instruments dated as though made at Paris. Usual style, workmanship and tone of the well constructed Mirecourtian violin. 60, 1960.
SADLER, JOSEPH ANTON
Bom 1820. Amateur at Linz (Austria). Died 1908. Made a fair number of mediocre violins. Left instructions that they should be destroyed if not touched up by some other maker.
----------------------
J. A. Sadler, Linz
----------------------
SAGA, F.
Amateur. French refugee at Zurich, during the war, 1870. Died 1912. Constructed several violins, many re-labelled with other names.
SAGI, ERNO
Born 1904. Worked at Szegedin (Hungary), 1928.
SAGMAYR, WOLFGANG
Worked at Graz (Styria), 1690. Died 1702. One of the earliest makers in that country. Instruments not easily to be disposed from a fairly high position. A man eminently qualified to fulfil the intricate tasks involved in the art. Attractive contour of its class, long middle curves and sound-holes correspondingly lengthy to complete harmonious relationship. Reddish brown varnish. Also interesting lutes, sometimes nicely decorative.
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Wolfgang Sagmayr, Lauten und
Geigenmacher in Graz. Anno 17-
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SAGNIER
Worked at Cherbourg, 1890. Guarnerian modelling, average workmanship, dry, dark yellow orange varnish.
SAGRUN
Worked at Paris, 1840-1850: Reddish orange varnish. Possibly a name misread for Sacquin. Branded Sagrun, Paris, 1844.
SAILER, ANTON
Born 1767. Died 1840. Son and pupil of Johann. Worked at Mittenwald (Bavaria). Violins faithful to Tyrolese tradition. Craftsmanship never threatened by the want of able and competent direction. Proportions and thicknesses never miscalculated. Excellent application of rather dark tinted brown varnish. Tonal quality good enough to extract 25 from the connoisseurs purse (1930).
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Antoni Sailer i J.
1790
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(generally without name of town)
SAILER, JOHANN
Worked at Mittenwald, 1757-1780. Effective modelling reminding of the Amati style slightly tyrolised. Workmanship and nice shade of varnish sufficiently good to withstand the censure of damming with faint praise. Though the tone is modestly small, its mellowness deserves heralding.
SAILER, JOSEPH
Worked at Mittenwald, 1756. Violins fully and fairly deserving of recognition as excellent examples of their class undiminished by such grudging limitations of approval as some connoisseurs occasionally circulate.
SAILER (SEILER), MATHIAS
Son of Johann. Worked at Mittenwald. Instruments, when completely tested, do not generally ensure much respect, and their suitableness for anything beyond the requirements of the ordinary amateur-player is problematical.
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Math: Seiler, Geigenmacher in
Mittenwald an der Iser. 1820 No. 124
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(written)
SAINT-CROIX, RALPH DE
Resident at Slough (Bucks), 1911. Ungraceful model, flat and narrow. Workmanship attractively neat. Red varnish artistically applied. Label old-English illuminated style, but black lettering, quite arresting.
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Ralph de Ste Croix
Maker London. 1905
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SAINT-GELE
Worked at Paris, 1760-1766. Excellent exposition of constructive principles. Scroll and sound-holes will arrest, if not rivet, the attention of keen observers. Dark brown varnish. Tonal quality of warmth and brightness. Cellos probably superior. Earnest seekers for tone should soon here satisfy their requirements. Splendid acoustical belly wood of fine vein. 85, 1960; cellos, 150.
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Fait par St Gele
Paris. 1762
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SAINT-GEORGE, GEORGE
Born 1841. Settled in London, 1870. Professor of violin and viol damour. Greatly interested in antique instruments, became an enthusiastic maker and produced instruments of various designs. Generally widish sound-holes and light brown varnish. Made two viol-da-gambas, called respectively Dolphin and Rams Head, names derived from the elaborate design of the heads. Also two viol damours with inlaid ornamentation.
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G. Saint-George, fec
London. A.D. 1890
--------------------------
SAINT-JEAN, F.
Possibly worked at Mirecourt as an amateur. Large model, not well chosen belly wood, one piece back ill-shaped sound-holes, poor scroll and yellow brown varnish. Branded Franois Saint-Jean.
SAINT-JOHN
Worked at Dublin, 1870. Produced about 40 instruments. Not a mass of heterogenous details bewilderingly put together, but almost constructively perfect examples scarcely to be expected from one who only followed the art as a hobby. Particularly fine white pine for tops, material taken from the staircases of old Georgian houses.
SAINT-LUBIN, LON DE
Cheap merchandise made at a Mirecourt factory. Named after a rather famous French violinist, 1800. Flattish model, shallow ribs, prominent corners (purfling goes straight up them), fine grain belly wood, scroll with a blunt front, very dark red varnish (much chipped on back). 5 tone.
---------------------------------
Lon de Saint-Lubin, 1810
---------------------------------
(cruved)
SAINT-PAUL
Worked at Paris, 1740. Possibly identical with Pierre. Amatese outline, rather small proportioned, slightly arched and not unlike a Boquay. Dark tinted reddish varnish. Model and workmanship predicts a clarified tone full of mellowness. Also cellos and quintons.
SAINT-PAUL, ANTOINE
Son of Pierre. Worked at Paris, 1740-1790. Son-in-law and successor of Guersan, whose style (though less imaginative) he sometimes imitated. Dean of the Violin Makers Guild, 1768. Generally designsof smallish proportions, often strongly reminiscent of the Boquay. Very delicately conceived scrolls said to have been executed by women. Best toned specimens have an orange varnish of fair quality, but others are thinly furnished with a very cold looking pale yellow shade which undoubtedly affects tonal quality. 25 (1930). Also produced lutes and viols with fancifully carved heads.
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Antonius Saint-Paul.
prope Comoerdian
Gallicam. Lutetiae, anno 1772
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--------------------------------------------------------------
Antoine Saint-Paul
Luthier a Paris
au luth royal
rue des Fosses-Saint-Germain-des-Pres.
------------- - -------------
Il fait et vend toutes sortes
dinstruments de musique,
savoir: - violons de Cremone, violins de sa faon
et de toutes sortes dauteurs,
alto-violas, basses et contrebasses, etc
--------------------------------------------------------------
SAINT-PAUL, PIERRE
Worked at Paris, 1728-1746. Variable workmanship. Generally the small Amati model of medium arching and occasionally the whole design and refined treatment of it have been attributed to Cremonese emanation, but also produced much that falls away from artistic standard. Frequently medium grain tops, finely straight and often one piece backs of material not always prominently flamed. Orange red varnished specimens catalogued at 30; others of a dull yellow-grey shade, and of impoverished quality, realise about 20 (1925). Tonal quality of the former quite smoothly sonorous though not large, while that of the latter is hard and somewhat enfeebled. Also produced viols (five and six strings) and cellos.
------------------------------------
Pierre Saint-Paul, rue Saint
Andr des Arts Paris, 1743.
(a la lyre dApollon)
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Also with the design of a lyre on the right instead of the third line.
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Pierre Saint-Paul
rue de la Comsie franoise
Paris, 1741
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SAJOT
Worked at Paris, 1720-1740. Stradivarian outline but the ranks of tradition broken through by medium arching the front while the back is practically flat. Nicely chosen wood for appearance but not for any special acoustical properties. Deep yellow or light brown varnish which has possibly exercised an injurious influence on the tone. Tonal quality neither strong nor particularly sweet, in fact, rather ordinary. Catalogued at 15 though we have seen them priced at 200 dollars in American lists.
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Sajot, Paris 1732.
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SALAVIO
Worked at Bologna, 1760-1770. Cellos of excellent design and workmanship nicely finished. Yellow varnish of golden shade rather transparent.
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Salavio meno de Stradivari
di Bolognia di eta di Anne
Sessanta cinque. 1765
---------------------------------
SALF
Worked at Mirecourt, 1850. Shop sign, A la Ville de Venise.
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Salf, Mirecourt (Vosges)
--------------------------------
Sometimes branded - A la Ville de Venise Salf Mirecourt.
SALF
Worked at Toulon, 1908.
SALINO, GIOVANNI BATTISTA
Worked at Rome, 1750-1760. Modelling, with its high arching, calls forth expressions of condemnation. Dark brown varnish, almost black in parts, of indifferent texture and wholly unpleasing. Workmanship very haphazard. Tonal quality nasal and enfeebled. 12.
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Johannes Baptiste Salino
fecit Roma, anno 1762
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SALLE. (LE PRE)
Worked at Paris, 1825-1853. Produced very finely designed copies of the Cremonese, particularly favouring the Guarnerius. Specimens rather scarce. Tonal quality very sonorous and of easily-brought-out force.
SALO
see GASPARO DA SAL.
SALOMON
Worked at Reims, 1740-1775. Violins of good style, also a few beautifully designed viol damours.
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Fait Reims
Par Salomon 1755
-----------------------
SALOMON, JEAN BAPTISTE DESHAYES
Worked at Paris, 1730-1771. Dean of the Violin Makers Guild, 1760. Workshop sign: A Sainte Cecile. Variable in design and workmanship. Early instruments generally somewhat Amatese in outline with the Boquay medium arching. Execution of scrolls, sound-holes and other details incomparably superior to those of his later instruments, though in no instance reaching a particular high standard of refinement. Later instruments of broader and flatter arching, sometimes reminiscent of Chappuy, others more or less original, but mostly of carelessly conceived design and workmanship often mediocre. Some instruments fashioned with medium arching while the backs are prone to flatness. Others have the arching carried almost to the edges. Sound-holes of several styles almost invariably placed too far apart for any captivation of the eye. Usually acquitted himself better when engaged on the scroll, and often nicely figured material. Purfling never really cleanly and neatly done. Some instruments plentifully wooded, others just the reverse. Not particularly careful in his choice of materials, perhaps excepting a few specimens. Belly wood sometimes of medium grain at top and bottom, grading to and from fine vein at the centre; also specimens of hard material which gives the tone an unsympathetic quality. Wood for backs frequently of indistinct or nonuniform flame, although some examples are furnished with more handsomely figured material. Some instances known where the flame at the upper part of the back has an upward gradient, but at the centre and lower part faulty growth causes this flame to be straight across. One instrument has been preserved at Paris which has transverse instead of the usual horizontal joining, the upper portion having the figure of the material going north to south, while the lower is from west to east. Remarkable as a curiosity, equally remarkable for foolishness. Texture of varnish also varies, the best being the rather soft reddish brown on early productions. Others have a light golden brown, less supple, or a yellow (obviously spirit) quite cold looking and resinous. Tonal quality naturally varies with the inequalities enumerated. One notable exception in America (dated 1765), said to be of wondrous tone, and realised 500 dollars. Violas usually body length of 15 inches, well set forth, and often an advance upon the violins. Generally broad and fairly flat modelling of small figure material for backs and golden brown varnish. Stepped to his greatest heights in a few of his cellos, instruments most anatomically accurate, rather large size, well varnished and have a tone not better producible from any antecedent French instrument. Others of smaller proportions correspondingly less meritorious in material, workmanship and tone. Several viol-damours with especially well carved heads of different fancies. Also produce harps. 85 to 125; cellos, 150, 1960.
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Du Salomon
de Paris, 1740
------------------
-----------
Salomon
1742
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Salomon, Luthier Ste Ccile
Place de lEcole Pqris, 1741
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(Large italic lettering with design of a person plucking a lute-like instrument held in right hand, plucked with left)
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Parisiis
apud Salomonen ad insigne
Ste Caceilia Scolie Palatio
1754
----------------------------------
(sometimes three lined)
----------------------------------
Salomon
Maitre Luthier Paris, Rue
lArbre -sec a Ste Cecile
----------------------------------
(decorative border)
Branded in square lettering near the button on the back: Salomon or Salomon a Paris. Business after death, 1771, carried on by widow until 1788.
SALVADORI, GIUSEPPE
Worked at Pistoja (Italy), 1860-1869. Pleasing outline, proportions slightly under full size. Mediocre workmanship. Sound-holes too near the middle curve, also too slanting, wide in centre of stem and deep ugly notches. Scroll absurdly small, indifferently cut and not creditably posed. Light yellow or yellow with a tinge of red shades of varnish. Tonal quality quite impoverished, very little power and certainly no sonority or mellowness. 15. Violas of 16-1/2-inch body length. Also guitars and mandolines. 75, 1960.
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Giuseppe Salvadori
in Pistoja 1863
------------------------
(italic lettering - sometimes written)
SALZARD, D.
Worked at Mirecourt, 1820. Instruments sometimes dated as from Paris. Customary modelling of a large proportioned Stradivarius. Finely selected woods, backs often of one piece. Close grain material for decks. Yellow brown, yellow and orange yellow shades of varnish. Orchestral toned violins, brilliant and strong. 20. Branded D. Salzae or D. Salzard.
SALZARD, ERNEST ANDRE
Born at Mirecourt, 1842. Son and pupil of Francois. Worked at Moscow, 1863; and at St. Petersburg until death, 1897, Maker to the Imperial Court, Opera House and Conservatorium. Achieved the reputation of the best in Russia. Instruments designed accurately and beautifully. Brilliantly varnished. Tonal quality already a harvest-field of gradual maturity but only partially reaped as yet.
SALZARD, FRANOIS
Born at Mirecourt, 1808. Died 1874. Son and pupil of D. Worked at native place from 1836; and later at Paris. Usual Mirecourtian style of Stradivarian modelling. Constructively excellent and well wooded with pretty material. Orange red and yellow brown shades of varnish. Strong and brilliant tone. 30.
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Franois Salzard
---------------------
(decorative border)
Full name also branded.
SAMBROKOS, PANAS
Bom in America. Established at Los Angeles (California), 1906-1926.
SMANN, FRANZ MAX
Born at Markneukirchen, 1905. Worked at Dresden, 1935. Excellent copies of old Italian models. Branded F. M. Smann.
SAMPLE, THOMAS E.
Born at Hartley (Northumberland), 1880. Resident at Ashington, 1924. Joiner by trade. Produced several violins of various models. Dark red varnish.
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Thomas E. Sample
Ashington
1915
------------------------
(written)
SAMPO
Name given to commercial instruments manufactured by Lippold Hammig at Markneukirchen, 1926. Violins, cellos, double basses, guitars and lutes.
SAMPSON, H. S.
Born at Maldon (Essex) 1891. Worked for British makers and dealers until 1908. Produced first instrument 1908. Went to Melbourne (Australia) 1909; assisted A. E. Smith; and ultimately opened premises of his own. Noted repairer. Australian solo-violinists and visiting virtuosi have had their instruments overhauled by him, and amateurs etc. flocked to his assistance. Built about 30 violins up to year 1924. Not adhered to any particular model, but had a marked preference for the Stradivarius-Guarnerius and Gagliano taking second and third place. Fine oil varnish (prepared by himself) of three shades, light orange, deep orange, and reddish brown. Each instrument represents almost ideal power of design, admirable grace of outline and arching of a perfect gradient. Scroll and sound-holes naturally posed. But that which claims the greatest admiration is the remarkable approximation to tonal mellowness as well as a finely-round sonority, and under the soloists bow it lives and breathes. Eager purchasers have willingly given 40 to 50.
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Made by
H. S. Sampson
Melbourne
1924
-------------------
(pictorial, with two paintings, one representing strengh, the other beauty)
Signature inscribed across.
Also branded H.S.S.
SANAZZO, SANTINE
Worked at Milan, 1690-1740.
SANCIN, J. C.
Born at Triest 1893. Studied violin at the Conservatorium, Graz. Member of the Zika Quartet at Prague. Embarked on violin-construction in that city, and attained splendid proficiency. Strad and Guarnerian modelling. Beautifully applied varnish, golden yellow and cherry red shades. Tone remarkably mature for new instruments.
----------------------------------
Joannes Carolus Sancin
Tergestinus fece anno 19. .
----------------------------------
SAND, OTTO
Born at Stockholm. Violinist in several orchestras in Sweden and Norway. Went to Markneukirchen to study violin-making. Established at Stockholm 1922. Appointed maker and repairer to the King of Sweden 1939. Achieved splendid popularity throughout Scandinavia. Proposer of several methods to amplify tonal-sonority of modem instruments.
SANDBERG, ERIK
Worked at Stockholm 1760-1800. Pupil of hberg. Viols, violas, cellos, harps and guitars. A veritable cascade of industry, produced 270 violas up to year 1798, 50 cellos (small-sized), 300 viols, 120 harps, and 200 guitars. Violas wellnigh inimitable among Swedish productions. Distinguished by a transparent and luminous varnish. Outline, arching, scroll, and inside work all exhlbiting his splendid knowledge of anatomical accuracy and beauty.
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Erik Sandberg
Stockholm 1776
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SANDBERGER, KARL JOH
Born 1882. Worked at Stockholm. Won Diploma at the Hague 1949. Strad modelling, splendid design, impeccable workmanship, shaded varnish from yellow to deep red.
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K. J. Sandberger
Stockholm
---------------------
(written)
SANDER, LARS AXEL
Born 1890. Amateur at Stockholm 1930. Strad modelling, transparent yellow varnish.
SANDHERR, JOSEPH
Born 1883. Pupil of Fiorini (Munich). Worked at various towns in Germany and Belgium. Established at Dresden 1912.
SANDHERR, CARL
Born 1900. Pupil of Mockel (Berlin). Worked in Norway. Finally settled at Bielefeld.
SANDIN, JOHAN
Born 1878. Amateur at Kiruna (Sweden). Won gold medal at Stockholm, 1925, for a well designed and well varnished violin.
SANDER
At least 60 of this name have worked at Schnbach, 1740-1950. Employed by the several exporting establishments of trade instruments.
SANDER, EGID
Born at Ober-Schnbach 1851. Pupil of Schafer. Established at Schnbach 1875. Died 1918. Specialist in first-class imitations of the Stainer model. Particularly extensive export trade with dealers in Europe, America and England. Formulated a new varnish which was largely advertised as the English Violin-varnish.
----------------------
Copy of
Jacobus Stainer
made in Austria
----------------------
SANDNER, ANTON
Established at Aussig-on-Elbe (Bohemia) 1922. Expert maker of lutes, guitars, violins, and cellos. Author of The Soul (sound-post) of a Violin.
----------------------------
Anton Sander
A+S Geigenbaumeister
Aussig a/E
A S
19. .
----------------------------
(with design of his book)
SANDNER, CARL
Born in Schoenbach. Descendant of highly recognized family of violin makers dating back to 1740. Instruments made entirely by hand and models patterned on those of Stradivari, Guarneri, and Guadagnini. Working in Mittenwald, 1960. Beautiful wood and fine workmanship.
-----------------------------------------------
CARL SANDNER
Geigenbaumeister - Reparateur
Mod. . . . . . . Mittenwald/Karw. Geb.
Bez. . . . . . .. . Deutschland.
Made in Germany.
-----------------------------------------------
(with signature, and model written in ink)
SANDNER, FERDINAND
Worked at Schnbach, 1772-1775. Instruments not surpassed by any contemporary maker in that town. Altogether interesting designs artistically varnished.
SANDNER, IGNAZ
Born at Schnbach 1822. Son of Venzeslaus. Worked with Weber at Prague, who (in 1844) bequeathed his entire fortune, workshop, instruments, and tools, to him. Died 1847 in 25th year owing to frequent exposure in a damp atmosphere. The few years he had given to unremitting and enthusiastic application of producing something rather superior. Outline distinctly original, but perhaps the arching is too high to be ideally faithful to beauty. Workmanship conspicuous for precision and firmness. Tonal quality fairly rich though not very powerful.
SANDNER, JOHANN (1)
Worked at Schnbach 1742-1780. Rather strong Amatese influences in the outline, with a touch of the Bohemian style in the arching. Scrolls sometimes a little too widespreading, and seem comparatively stunted. Graceful sound-holes affording picturesque ensemble to the contour. Reddish brown varnish effectively applied. Tonal quality fairly powerful and nicely responsive. 20.
SANDNER, JOHANN (2)
Worked at Schnbach 1826-1869. Ordinary modelling not determined by any special degree of excellence in accuracy. Considering that the instruments were intended to circulate as a commercial cheap grade, they are perhaps a little superior to others of that class. 5 (1900).
-------------------------
Johann Sandner
inSchnbach 1843
-------------------------
(sometimes written)
SANDNER, JOHANN (3)
Worked at Absroth (near Schnbach). Modelling somewhat broad and of medium arching. Generally commonplace style and work, obviously made for the trade, and as such the tone is quite nicely matured for five-guinea instruments.
---------------------
Johann Sandner
in Absroth. 1852
---------------------
SANDNER, JOHANN JOSEF
Born at Schnbach. Worked at Stein (Bohemia). A very minor master in the art. Confined himself to perpetuating the cheapest possible. Ordinary modelling with scurried workmanship. Spirit varnish of very indifferent quality.
-----------------------------------------
Johann Joseph Sandner
Violin Macher in Stein, A - 1794
-----------------------------------------
(written)
SANDNER, JOSEF
Son and pupil of Alexander. Born 1845. Evidently fond of a wandering life. Travelled and worked (before arriving at 26th year) in Austria, Bosnia, Hungary, Switzerland, Tyrol, Germany and France. Established at Schnbach 1870. Business carried on by son Joseph 1920. Principally engaged in producing necks and scrolls for the trade. Also an expert in woods, and exporter of large quantities throughout the world. Recipient of a medal and diploma at the Vienna Exhibition 1873.
SANDNER, VENZESLAUS
Worked with Schunda at Buda-Pesth. Established own workshop in the same city 1875-1900. Inventor of a Multiplicator for the tonal betterment of stringed instruments, which signally failed to attract subsequent makers.
----------------------------------------
V. Sandner
Musik-Instrumenten-Verfertiger
Ecke der Ungar und Zuckergasse
Pest. 1878
----------------------------------------
SANDREUTER, HANS
Art painter. Lived at Basle (Switzerland). Died 1901. Interested in violin varnishes, made experiments for a number of years, contributed journalistic articles, and wrote a book on the subject.
SANGELIA, LORENZO
Worked at Florence, 1770-1780. Rather elegant Amatese modelling. Details of scroll well executed. Tonal quality fairly rich though not powerful. 25 (1925).
SANGSTER, E. H.
Born in Falmouth, Nova Scotia, 1889. Took up violin making as a hobby at the age of fourteen. Went to Vineland, New Jersey, 1920, and opened his first shop there. Returned to Nova Scotia in 1925 and opened a shop in Halifax, N.S. Returned to U.S.A. 1939 and after working in several cities came to Dallas, Texas, in 1946, where in 1960 he was still working. Strad pattern instruments, one prior to 1700 model, and one late model of the 1720s. Arching usually after Strad, occasionally original. Glossy transparent varnish applied directly to linseed oil treated wood. Soft colours varying from light yellow, brown to deep red. Hand-drawn ink labels. Usually rubber-stamps bass bar, occasionally top and ribs. Re-graduated and re-varnished violins not of his make often have a pencil or ink script description in the back. Best period begins with 1954 which are oil-treated and plentifully covered with own varnish.
SANHUDO, ANTONIO JOSQUIN
Worked at Porto. Died 1869. Well made violins, some on specifications of Francisco de S Noronha (famous violinist in Portugal and Brazil), two (dated 1849 and 1865) preserved in the Museum at Lisbon.
SANHUDO, SEBASTIAO
Worked at Porto (Portugal), 1860. Modelling without fertility of well studied principles. Refinement in workmanship apparently beyond his horizon. Hardlooking spirit varnish of indifferent texture.
SANNINO, VICENZO
Born at Naples 1879. Worked there until 1914. Established at Rome 1925. Stradivarian and Guarnerian modelling. Also exact imitations of a Gagliano. Golden red and golden yellow shades of varnish. Built 700 violins, 50 violas, and 80 cellos up to year 1949. Favourable examples of style propriety and splendid tonal sonority. 125, 1960.
-------------------------------
Vincenzo Sannino
fece in Napoli anno 1905
-------------------------------
(with cross and initials)
SANONI, GIOVANNI BATTISTA
Worked at Venice and Verona 1690-1740. High modelling, but whole contour splendidly proportioned. Workmanship reaches a fairly high standard. Grace ensured in the scroll and sound-holes. Belly-wood generally closely veined, often two-piece backs of well marked material, also ribs. Texturally fine varnish of a rich orange shade; occasionally one of rose tint. Tonal quality resonant, flexible, and responsive though not powerful. 350, 1960.
SANTAGIULIANA, GABTANO
Worked at Vicenza (Italy), 1800-1805. Moderately full arching. Scroll unerringly accomplished, and of good swing. Sound-holes quite captivating. Edges and purfling without a flaw. Fiery dark brown varnish, sometimes one of old-yellow shade. Tonal quality much that is euphonious to sensitive ears. 175, 1960.
Guitars with backs and ribs of chestnut wood, light brown-red varnish, black neck with yellow stripes, and yellow peg-box with black stripes. Body length 46 cm.; upper width 20; lower 26; ribs 9; total length 63.5.
---------------------------
Cajectanus
Santagiuliana fecit
Vicentiae, anno 1804
--------------------------
SANTAGIULIANA, GIACINTO
Worked at Vicenza 1770-1820, and at Venice 1820 to death, 1830. Modelling more properly belongs to his own style, seldom partaking of any marked characteristics of others. Of good size, and generally rather fully developed arching, some of the later dated being flatter. Instruments considerably varying in excellence of design and tone. Best specimens catalogued at 70 (1929). Brown tinted shade of varnish often intense in its depth and brilliancy. 250, 1960.
-----------------------------
Jacintus Santagiuliana
fecit Venetia anno 1830
-----------------------------
---------------------------------
Jacintus Santagiuliana fecit
Vicetiae. Anno 1815
---------------------------------
(decorative border)
SANTE
Worked at Pesaro (Italy), 1670. Violins which can never enrich a collection, and which, in progress of time seem to be subjected to oblivion. Model, workmanship, and tone, all three ordinarities in this instance.
SANTE, GIUSEPPE
Worked at Rome, 1770-1778. Outline not graceful, arching somewhat high. Workmanship not generally praiseworthy. Tonal quality discloses a certain turpitude as regards sonority, and has little power. Catalogued at 48 (1930), any violinist giving more will ultimately find he has been outwitted. Name variously given as Santi and Santo.
SANTI, CRISTOFORO
Worked at Sestino (Italy) 1748. Instruments belonging to the Pesaro school. Not good specimens of modelling or varnishing. Moderately loud tone but not clear. Name sometimes given as Santi Sestino.
SANTIERO, D.
Italian. Period 1815. Modelling and workmanship verging on the crude. Sound-holes indifferently executed, upper and lower curves having received unsteady treatment. Yellow varnish.
SANTINI, G.
Born 1898. Resident at Ascoli 1920. Unfortunately lost his reason and had to be placed in a Sanatorium. Produced several estimable violins.
-------------------------------
Santini Giuseppe
Fece in Ascoli anno 1922
-------------------------------
SANTIS, GIOVANNI DE
Head of an important firm at Rome. Born 1834, died 1916. Business carried on by sons. World famous for remarkable guitars and mandolines. Also violins, and other bowed instruments.
SANTO, GIOVANNI
Worked at Naples 1700-1740. Small Amatese modelling nicely conceived. Reddish varnish not particularly good. Name also given as Santi.
SANTO, SANTINO
Name variously given as Sanazzo, Sanzio, Sanzo and Sentino. Worked at Milan 1684-1700. Secondary standard modelling somewhat reminiscent of the Grancino, also a few of Amatese modelling. 200, 1960.
SANTO SERAFINO
see SERAFINO.
SANTOS, ANTONIO
Worked at Coimbra (Portugal) 1867. Exclusively produced guitars. Violins bearing his label were made at Mirecourt, or Markneukirchen.
SANTUCCI, ETIENNE
Born in Corsica 1873. Worked at St. Raphael (France). Amatese and Stradivarian modelling; dark yellow varnish.
---------------------------
E. Santucci Luthier
Saint Raphael. No. . .
---------------------------
SAPINI
Worked at Cremona 1660. Small proportioned instruments somewhat similar to the early Amatese style, but not pretty shoulders, seemingly too broad for harmony with the middle and lower parts. Medium arching, slightly table-like instead of a nice gradient. Small scroll not unlike one of Cappa in some respects Fairly graceful sound-holes. Ribs rather shallow. Yellow-brown varnish effectively applied. Tonal quality mellow and clear, but without strength. Good workmanship and excellent wood.
-------------------------
Sapini
Fecit Cremona 1661
-------------------------
(written)
Quite possibly a fabricated name.
SAPINO
Worked at Saluzzo (Italy) 16. . . Supposed pupil of Cappa. Some historians affirm that a maker of this name never existed. Sapino is one name for pine, and seeing it branded on some instruments, certain writers have quite possibly arrived at too hasty a conclusion.
SARACINI, DOMENICO
Worked at Florence, 1655. Lutes, violins and cellos of interesting design.
SARACINI, GIAMBATTISTA
Son and pupil of the preceding. Worked at Florence, 1667. Wholly good lutes on which he exercised capabilities for neat inlay and other ornamentations. Achieved less distinction with his violins.
SARAILLAC, FRANOIS
Worked at Lyons (France), 1678-1712. Six stringed bass viols of elongated and narrow pattern, with peg box terminating in a sculptured head. Brown varnish. Also a few ingeniously designed pocket fiddles. Few violins and violas known.
----------------------
Franois Saraillac
Lion. 1711
----------------------
(written in large Roman characters)
SARASATE BOWS
Made by Thibouville Lamy at Mirecourt. Two varieties - one stamped Sarasate-Matre, the other Sarasate-Virtuose. 10 to 15.
SARASATE VIOLINS
Made at the same place as above. Five varieties (graduating prices from five to twenty pounds) named Elve, Matre, Artiste, Professional and Virtuose.
SARATELLI, CARLO ANTONIO
Worked at Modena (Italy), 1913. Splendidly designed instruments. Workmanship of scroll and sound-holes flawless. Amber oil varnish. Italian quality of tone with needful brilliancy and penetrative force. 95, 1960.
SARAZZINO, ANTONIO
Worked at Brescia (Italy). A few violas known. Design and workmanship of a highly meritorious class. Judiciously varnished - tout ensemble thus rendered effective and harmonious. Tonal quality has the requisite fitness for chamber-music performances.
-------------------------
Antonius Sarazzinus
in Brescia
fecit anno 1674
-------------------------
SARDI
Worked at Venice, 1649. Viols showing considerable skill in modelling.
SARDINI, CARLO
Born at Naples. Worked at Madrid, 1708-1743. We complain of the paucity of sensible invention displayed in this design, and the want of characteristic propriety in arching. Large outline, with plates so flat that there is no shadow of grooving near the edge nor any really perceptible gradient. Orange-yellow varnish of rich quality.
----------------------------
Carolus Sardini Matriti
fecit Anno 1733
----------------------------
---------------------------------
Matriti per Carolus Sardini
Anno 1736
---------------------------------
SARETTA, GIUSEPPE
Born at Montebelluna, 1894. Sculptor and inlay designer. Studied violin-making with Carlo Oddone. Resident a few years at Padua. Subsequently returned to birthplace. Produced about 56 violins and 5 cellos up to year 1951.
-----------------------------
Joseph Saretta
faciebat Montebellonae
A. XIo.
E.F.
-----------------------------
-------------------------------------------
Giuseppe Saretta
fece
Montebelluna (Treviso) Anno 1948
-------------------------------------------
SARKOZY, KROLY
Born 1894. Worked at Prague and Linz. Established at Krmend (Hungary), 1922. Excellent copies of old Italian and Austrian models.
SARLE, T.
Established in London, 1915. Little known work.
SARRABLO, MANUEL
Resident at Paris, 1909. Another faddist imbued with the idea that the customary mode of building violins is defective and suggested that the back and belly should be exactly alike in kind of wood, thickness, dimensions, shape, sound-holes and bars. This (he asserted) would make both vibrate in harmony, facilitate production of vibration and give a more powerful initial sound. Also (to protect and completely separate the instrument from the body of the player), that it should have a double back and double ribs.
SARTO, NICOLA
Worked at Bologna, 1700. Pupil of Carlo Tononi. Violins teeming with fine tonal qualities. 400, 1960.
SARTORI
Worked at Mirecourt, 1880-1905. Very ordinary style, backs with almost plain wood, clear red varnish. Branded Sartori.
SARTORY, EUGNE
Born at Mirecourt, 1871. Pupil of his father; worked for Peccatte in Paris before 18th year; and for Lamy several years. Ultimately opened own workshop at Paris. Recipient of medals and diplomas at Brussels, 1887, Lyons, 1894, Lige, 1905, Milan, 1906 and London, 1908. Decorated Officier dAcadmie Paris. Died 1946. Bows universally admired. Appearance brings up memories of a Voirin bow, though the head is less refined. Some have beautiful mother-opearl saddles. Often beautifully balanced sticks of pernambuco, but others occasionally too heavy for soloists. All orchestral players greatly admire his productions. Branded Sartory in usual place, also underneath. 25 to 50 GM, 1960.
SASSI, ALESSIO
Worked at Milan, 1784. Not a wise or liberal distribution of talent displayed in the design of these violins. Tonal quality not particularly cordial. Cellos better appreciated.
SATHER, OSCAR
Resident at Chicago, 1915. Invented an apparatus for tuning the top and bottom plates to the so-called sympathetic vibrations, a box built up of a thickness of two inches of wall, sufficiently large to contain the back and top of a violin dressed complete; the wall of the box made up of cardboard strips and asphaltum, so as to reduce the vibrating qualities of the box as much as possible, then a large but extremely thin diaphragm is connected to a microphonic contrivance acting as a transmitter of a telephone, etc. He found that his plan subdued the harshness of new violins and gave carrying power sweetness to a remarkable degree, and was happy (after four years of assiduous experimenting) that he had actually hit upon the Cremona secret.
SATTLER, DAVID
Born at Silberbach, 1836. Died 1912. Viennese models of fair workmanship.
SATTLER, IGNAZ
Born at Silberbach, 1797. Died 1866. Ordinary workmanship.
SATTLER, JOHANN
Worked at Absroth (Bohemia), 1925.
SATTLER, JOSEPH
Born at Graslitz, 1866. Worked there until 1915. Generally replicas of the Matthias Thir (Viennese) style in design and varnish.
SATTLER, JOSEPH KARL
see SOTFLER.
SAUKE, JULIUS J. C.
Born at Rosche, 1800. Worked at Hamburg. Died 1856. Originally a cabinet maker. Also a violinist and guitarist. Violins substantially wooded, rather favouring the large Stradivarius. Style and workmanship show good conception and fair skill. Yellow or yellow brown varnish. Strong tonal quality, generally clear but not easily brought out. Also nicely designed cellos and ordinary guitars.
---------------------------------------
J. Sauke
Instrumentenmacher. Hamburg
---------------------------------------
--------------------
J. J. C. Sauke
Hamburg. 1845
--------------------
(decorative border, pointed at the sides)
SAUNDERS, ASHFORD
Resident at Clifton (Otley, Yorks), 1930. Amateur. Erected a special workshop for working at his favourite hobby. All violins and cellos made with wood grown in the Wharfedale district.
SAUNDERS BROTHERS
Alton C. and Eugene D., at Toledo (Ohio), 1895-1926. Principally artistic repairing. Also produced a few violins, violas and cellos.
SAUNDERS, STEPHEN
Born at Winterbourne, 1840. Played cello and double bass in 15th year. Entered the service of the South Western Railway. Settled at Twickenham, 1883. A real enthusiast in violins and the playing of them, held amateur quartets at his house. Friendly with Dr. Selle of Richmond (owner of a fine Stradivarius). Some instruments more or less adhere to the 14-inch Strad in outline and scroll (which is of really fine swing and has the all conquering character expected of it). Sound-holes not sufficiently slanting to be the true Stradivarian, but not ungraceful. Other specimens exhibit slightly more daring in originality. Body length just topping the 14-inch mark. Uncomfortable looking upper bouts, too wide to be in complete harmony with the lower. Medium arching brought up rather conspicuously at the centre. Margins of good width, strong but well rounded edging and splendid corners. Waist curves and sound-holes quite Guarnerian. Purfling has an occasional nervous aspect. Bottom of neck well scooped, very convenient for the player. Magnificent scroll, every nicety having beautiful development, sensibly wide from the volute to the boss and especially narrow (but artistically) over the top. Ruddy red varnish effectively applied. Excellent tonal quality of considerable strength and not without a modicum of smoothness.
------------------------
Made by
S. Saunders
Twickenham. 1902
------------------------
(written to imitate print)
Sometimes branded.
SAUNDERS, WILFRED G.
Established at Nottingham. Violins and violas. Fine craftsman held in much esteem by English players. Still working, 1960.
@ SAUNIER, EDMOND
Born at Mirecourt. 1730. Worked with Lambert at Nancy. Lived at Bordeaux, 1753-1766.Finally settled at Paris. Had an atelier in the rue Tiquetonne, 1768-1774; and in the rue des Prouvaires, 1775-1783. Trained in a good nursery, and built a good number of violins in the historic Mirecourt style, flat and broad modelling with yellow or red varnish. Tonal quality (flourishing with a vigorous and healthy growth when budding into life) is now transplanted to maturet soil. 25 (1932). Distinguished himself in the production of niandolines, guitars and theorbos. Made a speciality of mandoline-altos.
----------------------
Saunier
Bordeaux. 1754
----------------------
-------------------------------------------------------
Saunier, Luthier, demeure prsentement rue
des Prouvaires entre la rue des
Deux-Ecus et celle Saint-Honor Paris. 1775
-------------------------------------------------------
More frequently branded Saunier or Saunier A Paris on the inner side of back.
SAUVAGEOT
Worked at Paris, 1720. Small model violins of good workmanship.
SAVAGE, ANTON
Born 1896 at Ashley (Pa., U.S.A.) Used best American woods and an oil varnish of finest ingredients, red to yellow shades. Specialised in obtaining best tonal quality and did much research work on high models with great success.
SAVAGE, ELLIOT J.
Born 1890. Meriden (Conn., U.S.A.) Developed own model and a good oilvarnish, red brown and reddish brown in shade.
SAVAGE, GEORGE
Worked at Leicester (England). Specimen, much resembling an ordinary trade violin, realised 26/- at a Sheffield sale, 1926. 10, 1960.
SAVAGE, STEPHEN
Born at Thames (New Zealand), 1874. Resident (as a Government official) at Rarotonga, 1925. Made first violin in 9th year. Subsequently found the art to be particularly fascinating and determined to put his whole soul into producing something worthy of future appreciation. Achieved some remarkable results in silvery tonal quality. Early instruments made of New Zealand woods. First instrument made in Rarotonga bears the date 1916, and is composed of European woods. Chiefly Stradivarian and Guarnerian modelling. Dark orange to red shades of varnish, usually the fine preparation of V. C. Squier (Battle Creek). Found the climate ideal for violin making.
-----------------------------------------------------------------
Stephen Savage
Violin Maker
Rarotonga, Cook Islands, New Zealand. S. Savage
No. . . . . . . Anno 1924.
-----------------------------------------------------------------
@ SAVANI, GIUSEPPE
Amateur at Carpi (Italy), 1809. Style and workmanship well away from the ordinary. Well made double basses having the requisite qualifications for admittance to the best symphony orchestra. 95 (1960).
SAVART, FELIX
Born at Mzieres, 1791. First practised medicine. Subsequently devoted himself to general philosophical pursuits. Became famous for acoustical research. Member of the French Academy of Sciences. Died 1841. Author of a Memoire on the Construction of Stringed Instruments (Paris, 1818). Indubitably the greatest scientific work extant on the theoretical principles governing violin construction. Throws much lucid light on the complicated relation between a vibrating body which is the sound source, and other bodies brought into connection with it,by reason of which the original sound is intensified in power and modified in quality. Also gives full description of his much discussed trapezoid-violin, formulated to demonstrate that firstly, a plain surface vibrates much more readily than one arched or curved, secondly, there are points on the surface of the ordinary form violin where the vibrations are reduced to a minimum or entirely cease; thirdly, the bouts, corner blocks and sound-holes are the principal localities of this reduced vibration.
Body length, 13.13/20 inches; inner surfaces quite plain, outer ones slightly raised to support the increased pressure of the strings. Width of upper end, 3/5.16; lower, 8-3/4. Height of blocks and sides, 1.7/20; no linings used. Height of bridge, l-5/8; width, l-5/8. Rectangular sound-holes, length, 2-3/4; width, 1/4. Bass bar placed down the central joint to equalise its influence over the entire surface (since proven to be erroneous reasoning); length, 11.7/10. Distance from nut to top of bridge, 12.31/40. Soundpost set behind the bridge as in an ordinary instrument but more to the right. Tail piece suppressed, strings carried over a nut, set at the bottom to the tail pin. Tested and compared with Cremonas, eulogised as being superior, etc., but subsequently found no endorsement from soloists.
SAVARY, FILS
Worked at Paris, 1835-1840. Violins and cellos made by a man who had slight conception of contour and as little skill in craftsmanship. Outline deplorably shaped, sound-holes quite ugly, dark brown varnish as bad as all the rest of the work. Such atrocities should be removed to a sphere never visited by man.
------------------------------
Savary Fils Luthier
Rue de la Harpe No. 99
Paris. 1838.
------------------------------
SAVOIS, FRANOIS
Worked at Paris, 19-. Stradivarian design rdther too boldly conceived. Neat sound-holes, audacious scroll, light golden varnish, moderately good wood, fair workmanship.
--------------------
Franois Savois
A Paris. 19-
--------------------
(printed like script)
SAWICKI, CARL NICOLAS
Born at Lemberg (Poland), 1792. Settled at Vienna, 1824. Recognised as the best maker in the city. Died 1850. Generally copied the Stradivarian model of large and broad proportions, also occasionally the Guarnerian. Both outstandingly majestic in contour. Edging and corners of fine strength without heaviness. Particularly handsome scroll, volute of fine flight, prominent boss beautifully approached and a neatly arranged throat. Very desirable wood, backs of the very prettiest material. Varnish of Italian softness and transparency, brownish or reddish yellow, plentifully applied. Strong and sharply clear tone, perfectly round and pure. 60 (1925). August Pott (famous virtuoso) owned two quartets of Sawickis Stradivarian designs, one set varnished red the other golden yellow. 90, 1960.
Leopolitanus means from Lemberg.
-------------------------
Nicolaus Sawicki
fecit
Viennae Anno 1848
-------------------------
--------
/ N.S./
--------
Label of a specimen richly inlaid with mother-opearl, preserved in the collection at the Herzogenburg Monastery -
--------------------------------------------------------------
Smae. C.R. Apostolicae Maiestati
Ferdinando lmo Austriae imperatori
dedicavit in signum Venerationis et Submissionis
Carol Nicol. Sawicki Leopolitanus Vienna A. 1837
---------------------------------------------------------------
SAWINSKY, HILARI
Worked at St. Petersburg, 1726-1738. Modelling in Russian style, appearance of slight appeal owing to the absence of the customary edging. Bevelled junctions of back and belly with the ribs, consequently narrow ribs. Stradivarian outline. Yellow varnish. Strong workmanship. Shrill tonal quality.
--------------------------
Hillarius Sawinsky
St. Petersburg. 1732
--------------------------
SAWYER, G. B.
Born 1862. Worked at Gallipolis (Ohio), 1915-1926. Modelling on the Riecher system of a famous Strad.
SAXER, ANTHONY PETER
Worked at Coblenz, 1860-1885.
SAXER, AUGUST EDWARD
Born at Coblenz, 1865. Son and pupil of preceding. Worked for George Gemunder at Astoria (New York), 1883-1888. Established at Buffalo City, 1890-1928. Stradivarian and Guarnerian modelling. First instrument made in 1883, total productivity over 200. Orange shade of varnish, expert workmanship, fine quality of tone.
-------------------------------------------
No. . . . . l92-
A. E. Saxer
Maker
Buffalo. New York.
Copy of Antonius Stradiuaris 1670
-------------------------------------------
SCAPPIO, FRANCESCO
Instruments well circulated through the British Isles and America, 1900-1908, and created journal controversy as to their authenticity. A certain individual resident at Campobasso (Italy), caused enquiries to be made at Naples, 1905, and ascertained that no maker named Scappio had ever lived in that city. Consequently assumed that the instruments were Trade or were emanations from one of the Continental factories. Appearance certainly points to the pertitude of this opinion. Good modelling, pretty wood, amber varnish, reliable tone. 85, 1960.
------------------------
Francesco Scappio
Napoli. 1901
------------------------
SCARAMPELLA, GILISEPPE
Son and pupil of Paulo. Born at Brescia, 1838. Apprenticed to Nicola Bianchi at Paris, 1865. Assistant in workshop of Luigi Castellini at Florence, 1866. Succeeded Castellini as instrument keeper at the Istituto Musicale, where is preserved several Strads, etc. Actively employed and enjoying the finest of reputations, 1900. Produced magnificently modelled instroments after the principles of Stradivarius and Guarnerius, but not slavish imitations, sometimes with arching slightly fuller than either. Workmanship commands all admiration for exquisite finish. Sound-holes frequently of unusual length. Finest woods, acoustical and handsome. Delightfully flexible varnish of shades varying from red to golden. Brilliant and powerful tonal quality, creating visions and dreams of a glorious future maturity. 50 (1925). Violas and cellos equally fine. 175, 1960.
---------------------------------
Giuseppe Scarampella
fece in Firenze, anno 1889
---------------------------------
Branded Giuseppe Scarampella on the interior, also on or below button.
*
*Firenze *
*
SCARAMPELLA, PAOLO
Born 1805. Died 1870. Carpenter by trade. Worked at Brescia. Had three sons who were also makers of violins and guitars. Especially noteworthy cellos. 100, 1960.
SCARAMPELLA, STEFANO
Born at Brescia, 1843. Brother and pupil of Giuseppe. Settled at Mantua. Died 1924. Varied modelling but mostly Stradivarian. Some reminiscent of Balestrieri, others with measurements slightly under normal. Prolific productivity. Workmanship cannot boast of great refinement. Scroll often treated as a very secondary affair. Reddish brown varnish singularly deficient in suppleness. Tonal quality rather responsive but never very powerful or particularly sweet. 60 (1925). 150, 1960.
-----------------------------------------
Stefano Scarampella di Brescia
premiato con medaglie dargente
fratello ed allievo del Giuseppe
fece in Brescia. anno 1900
-----------------------------------------
(decorative border)
------------------------------------------
S.S. Stefano Scarampella Fratello
ed Allievo di Giuseppe
fecit in Mantova - Anno
-------------------------------------------
SCARDIGLI, ETTORE
Worked at Siena (Italy), 1889. Had certain theories for tonal amelioration. Few seen.
SCARFE, ROLAND
Born 1869. Resident at Bexhill-on-Sea, 1920. Stradivarian modelling.
---------------------
Roland Scarfe
Fecit anno 1926
---------------------
SCECENKO, VLADIMIR
Born at St. Petersburg, 1889. Established at Bologna, 1930. Own model.
SCHADLICH, ALFRED OSKAR
Born 1873. Worked at Markneukirchen. Died 1947. Good bow maker. 10.
SCHADLICH, CHRISTIAN GOTTLOB
Worked at Markneukirchen (Saxony). Violins exhibiting few attributes of excellence. Scroll frequently somewhat vulgarised. Brown varnish of poor texture and insufficiently applied.
-----------------------------------
Christian Gottlob Schdlich
Neukirchen, 1830
-----------------------------------
(written)
SCHADLICH, HERMANN
Worked at Schnbach. Died 1907. Constructed commonplace cellos for the trade.
SCHAENDL
see SCHNDL.
SCHFER, ANDREAS
Worked at Schnbach, 1810-1835. Ordinary instruments.
SCHFER, ANTON JOSEPH
Born 1860. Pupil of Josef Schuster. Worked at Schnbach up to 1932. Copies of Italian models in the category of trade instruments.
SCHFER, MICHAEL
Worked at Schnbach, 1820-1860. Nothing outstanding in model or workmanship.
SCHFFLER, JOSEPH (1)
Born at Mittenwald. Son of Mathias. Worked at Scharnitz, 1748. Died 1758. Successful modelling after the Klotz style. Varnish generally of inferior quality. Many instruments made of larch. Belly wood seldom other than of weak fibre. Tonal quality without beauty and resistance and quite insufficiently qualified for present-day purposes.
---------------------------
Josephus Schffler in
der Scharnitz. 1756
---------------------------
Some labels assign Mittenwald as the place of production.
SCHFFLER, JOSEPH (2)
Born 1759. Died 1793. Son and pupil of the preceding. Instruments slightly superior to the above in workmanship and tone. Modelling more Amatese than Klotz-like.
----------------------------------------
Joseph Schffler Geigenmacher
in der Scharnitz bei Mittenwaldt
A. 1792
----------------------------------------
SCHFFLER, MATHIAS
Worked at Mittenwald and Scharnitz, 1700-1740. Everything typical of the Klotz school.
SCHFFNER, MAX
Born at Markneukirchen, 1870. Worked there until 1906, then at Hamburg. Enjoying all prosperity, 1925. Studied at Leipzig and Nrnberg. Produced impressively designed violins. Uniting many of the qualities one can desire in a modern instrument. Beautiful varnish specially prepared and treated by various re-agents. Also finely constructed bows stamped Schffner. 80, 1960. Bows, 10.
SCHFFNER, PHILIPP PAUL
Born 1882. Brother and assistant of Max. Died 1949. Made many bows of various grades. 6, 8 and 10, 1960.
SCHAFROTH, BERNHARD
Worked at Vienna, 1801-1815.
SCHALLER, ADALBERT
Born at Prague, 1793. Died 1866. Only a few violins known. Guitars more appreciated.
-----------------------------------
Adalbert Schaller
Geigen und Giutarmacher
auf der Neustadt Stephanus-
gasse N.C. 653 in Prag.
-----------------------------------
SCHALLER, ANTON
Son and pupil of Josef. Born 1849. Worked for several years at Markneukirchen. Established at Schnbach, 1875. Early instruments sustain the worthy ambitious projects of an enthusiast. Later developed a trade in the manufacture of so-called Schachtelngeigen - very cheap grade instruments utterly discreditable to his undoubted abilities. Also cellos of similar class.
SCHALLER, HERMANN
Born 1868. Worked at Markneukirchen, 1897. Died 1946. Assisted by son Hermann (born 1897). Both very expert in replicating old standard models.
SCHALLER, JOHANN
Born 1863. Son of Josef (2). Established at Schnbach, 1885-1910. Principally occupied in making violin bodies and said to be particularly clever. Had a fine knowledge of woods.
SCHALLER, JOSEF
Born 1806. Died 1876. Master in the Violin Makers Guild at Schnbach, 1826. Violins of fair accuracy in design and proportions. Brownish varnish of moderate warmth. Tonal quality quite acceptable.
------------------------------------
Joseph Schaller
Geigenmacher in Schnbach
anno 1832
------------------------------------
SCHALLER, JOSEF (2)
Born 1821. Died 1882. Son and pupil of Ignaz. Made violins in the white for dealers. Connoisseur in old instruments and woods.
SCHALLER, JOSEF
Worked at Bilin (Bohemia), 1884-1909. Violins, violas, cellos and double basses.
SCHALLER, OSWALD
Born at Markneukirchen, 1857. Worked for Louis Otto at Dsseldorf; and established himself at Frankfort-on-Oder, 1881. Died 1913. lnteresting models after the Cremonese. Own preparation of transparent oil varnish, principally reddish yellow or mahogany shades. 75, 1960.
-----------------------------
Oswald Schaller fecit
Frankfrt a.O anno 18-
-----------------------------
SCHALLER, REINHOLD
Born at Markneukirchen, 1859. Worked at Chemnitz, 1896; and at Lbtau (near Dresden), 1898-1926. Excellent copies of the Stradivarius, Amati and Stainer. Mostly a spirit varnish of yellow brown shade, occasionally one of oil.
--------------------------------
Reinhold Schaller
Geigenbauer in Chemnitz
Anno 1897
--------------------------------
---------------------------------------
Reinhold Schaller, Geigenbauer
in Lbtau
bei Dresden. Anno 1899
----------------------------------------
SCHALLER, WILHELM FRIEDRICH
Born 1864. Worked at Markneukirchen, 1891. Later at Paulen. Died 1929. Fair copies of ancient models.
SCHALLOWETZ, FRANZ
Worked at Brux (Bohemia), 1884-1934. Various grades of stringed trade instruments.
SCHNDL, ANTON (1)
Worked at Mittenwald, 1750-1800. Modelling somewhat after Stradivarius but distinctly in Tyrolese style though of fairly flat arching. Others are of smaller build somewhat Amatese and higher arching. Ribs often rather narrower than usual. Sound-holes not particularly attractive and certainly not of the orthodox Stradivarian type. Scroll frequently of bold proportions. General contour of instrument indisputably nice looking although the workmanship is not wrought up to gem-like finish. Purfling rather near the edge, giving the outline an uncommonly neat appearance. Fine grain material for tops and handsomely marked wood for backs. Rich golden brown or deep red-brown varnish, lustrous and beautifully shaded. Rather strong tone but thick, not crisp, and of doubtful penetrating quality. 40, 1927. 80, 1960.
---------------------------------------
Anton Schaendl, Geigenmacher
in Mittenwald, An 1753
---------------------------------------
---------------------------------------
Antony Schndl, Geigenmacher
in Mittenwald. 1774
---------------------------------------
SCHNDL, ANTON (2)
Son of the preceding. Worked at Mittenwald, 1815-1830. Workmanship and style altogether reminiscent of fathers ideas. Used a similar label. Made some especially fine toned cellos, modelled after the Amati school with medium arching and a pretty brown shade of varnish: body length 74 cm.
-------------------------------------
Anton Schndl Geigenmacher
in Mittenwald An 1829
-------------------------------------
SCHNDL, JOHANN
Worked at Mittenwald, 1832-1842. Klotz school in modelling and varnish. Not especially well designed, little indication of warmth in the poor texture brown varnish. Tone emphatically not linked to real sonority.
-------------------------------------
Johann Schndl
Geigenmacher in Mittenwalde
an der Iser 1838
-------------------------------------
SCHNDL, MICHAEL
Worked at Mittenwald, 1730-1750. One of the best makers of his time. Instruments having unmistakeable impress of originality. Modelling altogether realising something of a Stainer-Klotz contour, unique of its kind. Body length 355 mm. Arching rather precipitous in its rise from the groove, afterwards running flat to the middle. Regulations and proportions of the belly so well thought out as to avoid any trace of ugliness. Back treated to slightly less arching. The whole, though high built, is certainly effective and presents a solidity quite unusual. Width of upper bouts, 165 mm.; middle 107; lower 205. Conspicuously deep grooving. Scroll in its rigorous attitude reflects less satsfactory skill of the maker. Sound-holes bespeak more gracefulness and are rather reminiscent of the Klotz. Purfling only 4-1/2 mm. from the edge. Thin varnish of brownish shade having slight elasticity and less warmth. Depth of ribs, 32 to 33 mm. Backs often of narrow flamed material. Tonal quality nasal and blatant.
---------------------------------------------------------
Michael Schndl, Lautenmacher in Mittenwald
in der Grafsch Werderfels
in Tyrolischen Gebrgs gelegen
nchst an der Schrniz 1738.
---------------------------------------------------------
Translation: M.S. lute-maker in M.; in the Counts Rocky Island; situated in the Tyrolean Mountains; near to the Schrniz (well known narrow pass fortification). 100, 1960.
SCHANNER, MICHAEL
Worked at Graz (Styria), 1850-1865. Well constructed guitars. Also violins of average ordinary type.
--------------------------------
Michael Schanner
Geigen und Guitarmacher
in Gras. 1863
--------------------------------
SCHANZ, GUSTAV
Worked at Brambach (Saxony), 1930. Various grades of stringed instruments.
SCHARF, LOUIS (LODEWIJH)
Born at The Hague, 1793. Died 1875. Quite ordinary work.
-------------------------------
Gemaakt Door
L. Scharf, s-Hage, 1864
-------------------------------
SCHARFF, THEO
Established at San Jose (California), 1925. Used the varnish prepared by Thomas of Oakland.
SCHEDELICH, CHRISTIAN GOTTFRIED
Born 1732. Master in the Guild of Violin Makers at Markneukirchen, 1751. Worked at Augsburg and Innsbruck (Tyrol). Died 1782. Violins constructively excellent though not particularly elegant. Arching rather flat, especially across the upper and lower bouts. Scroll lacks microscopic nicety. Somewhat Stainerish sound-holes and rather precipitous. Nicely veined belly wood and pretty material for backs. Brown varnish making some advance towards a generous application. Tonal quality not easily defined as it is neither strong nor really mellow. 20 (1932).
--------------------------------------------
Christian Gottfried Schedelich
Violinmacher in Insbruck. Ao. 1781
--------------------------------------------
Also branded. 60, 1960.
SCHEEPERS, A. C.
Born at Roosendaal (Holland), 1891. Won diploma at The Hague, 1949. First instrument dated 1918, individualistic model. Changed to Strad and Guarnerian, 1935. Orange varnish of own formula.
SCHEERER, JOHN H.
Born in Germany. Resident at Leeds, 1890-1924. Extensive importer of trade instruments made in Saxony, Tyrol and Mirecourt.
------------------
The Quartet
John Scheerer
Regd.
Violin
------------------
Made in Germany branded. Ultimately Anglicised his name to Shearer. Experimented upon a good number of violin plates and had good results in 1911. Starting at the central node he reduced fractionally below 1/8 of an inch, and carried out along the axial line to the upper and lower nodal centres, finishing at both block ends about one-third less than at the starting point. This was not done entirely by callipers but in conjunction and with the aid of a powerful light. Starting from the block end, he scraped from the sides inwards to the centre line, leaving the sides a good 1/16 of an inch thick. The plate (when finished) if held vertically from either end and exposed to the light describes a horseshoe line showing clearer light at the wings and gradually getting more opaque to the centre. To this, of course, was added a heavy bass bar, the total weight of plate being nearly 3-1/2 ounces. A full rich tone was obtained, equal throughout; the G string having a quality much akin to the clarinet.
SCHEFFER, EMIL
Born at Markneukirchen. Worked at Bukarest (Roumania). Ordinary large modelling in the Hopf style, dark brown varnish.
-----------------------------------------
Emil Scheffer fabricant de violon
Bucaresci Anno 1915
-----------------------------------------
SCHEFFER, MAX
Born at Markneukirchen, 1870. Worked at Hamburg. Died 1948. Presented many well designed violins of various standard models.
SCHEFFERNA, CARL
Born at Kaschau, 1860. Pupil of Nemessnyi.
SCHEFFERN, JOHANN NEPOMUK
Born at Budapest, 1823. Worked at Kaschau (Hungary). Died 1873. Good workmanship and varnish.
----------------------------------------------
Kaschau
Johann Vep. Schefferna, Schler des
G. Teufelsdorfer in Persh. 1846
----------------------------------------------
----------------------------------------
Scheffern Jnos Legedkszito
Pestrl, lalik Kassn 1870
----------------------------------------
Assisted by son Koloman (born 1869).
SCHEIB, FRANZ
Worked at Szabadka (Hungary), 1860-1890.
SCHEINERT, CHRISTOPH
Resident at Berlin, 1889-1895. Inventor of a vibrating hammer to give fuller and richer tonal quality; consisted of a thin metal spring furnished with a hammer and attached to the bridge, when the bow was drawn across the strings the hammer was commenced to vibrate. Sarasate, when in Berlin, 1889, gave the invention a trial and thought it a happy contrivance, but is now enveloped in the world of shadows.
SCHEINLEIN, GEORG MICHAEL
Worked at Langenfeld (Bavaria).
---------------------------------------------
Georg Michael Scheinlein
in Langenfeld prope Nrnberg, 1820.
---------------------------------------------
SCHEINLEIN, JOHANN MICHAEL
Son and pupil of Matthas Friedrich. Born 1751. Died 1794. Worked at Langenfeld. Large proportioned modelling very close to the Stainer principles, but gives evidence of sensible independence by having reduced arching. Fairly neat workmanship of scroll and sound-holes balances the rest. Unfortunately the plates are too thin and thus conspire to deprive the tone of real resonance and power. Dark brown varnish. 65, 1960.
----------------------------------------
Johann Michael Scheinlein
fecit Langenfeld prope Nrnberg
Ao. 1778
----------------------------------------
SCHEINLEIN, MATTHUS FRIEDRICH
Born 1710. Died 1771. Worked at Langenfeld. Violinist and harpist. First interested himself by repairing local instruments. Early productions wholly in Tyrolese style. Later specimens more original, but the eye is not seductively led to any semblance of beauty in the excessively high arching. Effective scroll as to ease of pose. Sound-holes unmistakeably Tyrolese, rather inexorable in curves. Purfling not especially neat. Good acoustical wood used much to sparingly so that the original triumph of a premature mellowness has now turned into one of being defeated by feebleness. Dark brown varnish on later instruments, brownish yellow on the earlier. Small tonal quality and apt to shrillness in the higher register. 60, 1960.
--------------------------
Matthaeus Frederich
Scheinlein fecit in,
Langen/eldt. 1757
--------------------------
------------------------------
Matth. Fridr. Scheinlein
fecit Langenfeld
prope Nrnberg, 1768
------------------------------
SCHELIN, GUSTAV
Born 1874. Amateur at Eskilstuna (Sweden).
SCHELLE, SEBASTIAN
Worked at Nrnberg (Bavaria), 1700-1747. Pupil of Matthias Hummel. Wandered extensively through the Tyrol and other parts of Germany, also visited Cremona. Recognised as one of the finest lute makers. Large modelling and often superbly ornamented. Many specimens preserved in museums and private collections. Violins more academical in design, which is variable, Some instruments with pronounced arching, others with medium and a few of semi-Stradivarian outline. Proportions in each instance generally accurate. Workmanship not always refined. Scrolls sometimes exaggerated and somewhat carelessly executed. Excellent and nicely figured wood but none too plentifully used. Golden brown varnish fairly rich in texture. Dry tonal quality irritating to the emotional amateur player. 60, 1960.
---------------------------------
Sebastian Schelle
Lauten und Geigenmacher
in Nrnberg. Nummels
Erben. An. 1744
---------------------------------
SCHELMAYER, C.
Worked at Cologne, 1750. Violins, viols and pocket fiddles.
-----------------------------------
Christian Schelmayer
Musik-Instrumentenmacher,
in Kln. No. 6022
-----------------------------------
SCHENSELDEC, JOSEPH GEORGE
A German who adopted the pretence of working at Cremona, a not infrequent practice in his day. Large model, body length 14-3/8 inches. Workmanship quite smoothly accomplished. Edge rather prominently overlapped, but has no a ppearance of heaviness. Ribs slightly under average depth. Excellently designed scroll of large dimensions. Neatly cut sound-holes. Yellow brown varnish.
---------------------------------------------
Joseph George Schenseldec, violinne
Macher in Cremona, 1780
---------------------------------------------
SCHERLEIN, A.
Worked at Augsburg (Bavaria), 1850-1882. Musician who did much local repairing. Produced a few violins of Tyrolese style and varnish.
SCHERMERHORN, HAYES
Born in America. Worked at Seattle, Los Angeles and Portland (Oregon). Produced first violin, 1896. Built 250 up to year 1922. Modelling somewhat on the style of Stradivarius and Guarnerius. Also replicas of several of the world-famous Cremonas. Constructively magnificent, design and workmanship irreproachable, not surpassed by any other American. Believed that the native Cascade Mountain spruce to be the finest acoustical wood in the universe. Also used Oregon curly maple. Recognised as an incomparable restorer of old instruments, of which several thousands have been rejuvenated by him. Discovered (1906) a formula for varnish which he subsequently termed the lost secret of Cremona varnish. Certainly a preparation of remarkable texture and productive of the loveliest tints. Refused for twelve years to divulge its special properties, then, after an overwhelming number of requests, made it up into bottles and gratified hundreds of makers, amateur and professional. Opened a school for violin making at Los Angeles, 1920, and did good work therein by elucidating several of his violin discoveries. Advertised that by his perfected method of varnishing and wood seasoning he could guarantee to beat any of the old master violins in tone.
SCHERTEL, CHRISTIAN (1)
Born 1865. Worked at various towns in Bayaria, and at Thibouville-Lamy at Mirecourt. Established at Bayreuth, 1906. Good workmanship.
SCHERTEL, CHRISTIAN (2)
Born at Bayreuth, 1901. Son and pupil of above. Worked in Italy, Austria, France, Hungary and Roumania. Settled at Munich, 1934. Good violins and cellos which have subjected to his researches of woods and varnish to quickly arrive at mature sonority. Assisted by his wife (born Morano).
---------------------
Schertel-Morano
19 Mnchen 34
---------------------
(branded, year written)
SCHERZER, MORITZ
Born 1870. Pupil of Oswald Schilbach. Worked at Schneck, 1894; and at Remtengrn, 1930.
SCHERZER, VOLKMAR
Worked at Markneukirchen, 1925. Specialist in bow making of various cheap grades. Made two little inventions for facilitating the holding of the bow, one with an extended upper curve where thumb is placed. Stamped Patentamtl: Gesch:.
SCHETELIG, CHRISTIAN GOTTLOB
Born 1767. Died 1820. Worked at Markneukirchen. Outline exemplifies the prevalence of the Amatese. Medium arching but rises rather abruptly from the purfling and apt to upset the composure of the eye. Good margins, edges aicely rounded. No gracefulness imparted to the scroll. Sound-holes stand rather precipitously ugly. Excellent belly wood and moderately flamed material for backs. Transparent toast-brown varnish of a lightish shade and textyrally good. Tonal quality agreeably warm but without brilliance or fullness.
-------------------------------------------
Christian Gottlob Schetelig
Musikalischer Instrumentenmacher
in Neukirchen. Anno 1792
-------------------------------------------
------------------------------------
Christian Gottlob Schetelig
Geigenmacher in Neukirchen
Ao. 1801.
------------------------------------
Also branded inside on the back. Some labels give his name as Schedelich. 70, 1960.
SCHETELIG, ERNST
Born at Markneukirchen, 1864. Pupil of Paulus. Worked until 1943.
SCHETELIG, HENRY
Born in Saxony. Worked at Brooklyn (N.Y.)
----------------------------------
Heinrich Schetelig
New York, fecit Anno 19. .
----------------------------------
SCHETELIG, JOHANN GEORG (1)
Born 1764. Died 1837. Worked at Markneukirchen. Instruments reminiscent of Ficker. Wood often very pretty. Inside work generally very superficial. 60, 1960.
SCHETELIG, JOHANN GEORG (2)
Born 1791. Died 1854. Son of the preceding. Worked at Markneukirchen. Violins of quite ordinary design and workmanship. Fairly well constructed but rather heavy-looking. Varnish entirely destitute of warm transparency.
SCHEVERLE, JOHANN
Born at Augsburg. Worked at Prague, 1750-1769. Lute virtuoso. Wrote compositions for the instruments. Studied the art of construction under Hellmer. Produced a few violins, violas, and cellos. Outline of infinite nicety, truly belonging to the Prague school. Beautifully graduated medium arching. Accuracy of proportions fully maintained. Chestnut-brown varnish of pure substantiality. Tonal quality of moderate power and sweetness. 70, 1960.
-----------------------------
Joannes Scheverle fecit
Pragae, An. 17. .
-----------------------------
Different spellings of name - Schferle, Schefferle, and Schewerle.
SCHEVLJAKOV
Russian amateur, 1927. Superficial workmanship, except the rather artistic sound-holes (although not perfectly cut). Wood ill-chosen. Pretty brown varnish, sparsely applied.
SCHIAVI, CARLO
Born at San Bassano, 1908. Pupil of Dr. Kresnick. Strad and Guarnerian modelling, also a personal model. Established Cremona, 1935. Died 1943 at Piacenza. Good wood, yellow and rose coloured varnish, a trifle hard. 80, 1960.
-------------------
Carlo Schiavi
Cremona 1937
-------------------
(on left is a Cross surmounted by a laurelled crown with inscription Ars et Labor
SCHIEFLER, E.
Worked at Hanover (Germany), 1837-1868. Copied the Cremonese models in perfect accordance with the artistic. Varnish applied with customary skill. Tonal quality rather even but not particularly warm. 50, 1960.
---------------------------------------------
Erasmus Schiefler
Instrumentenmacher. Hanover. 1868
---------------------------------------------
Initials and a lyre circled.
SCHIFFERL, ANTON
Resident at Straubing (Bavaria), 1860-1870. Violinist of note in the solo world. Studied violin making with Peter Schulz. Produced several handsomely designed violins. Comparative replicas of the Schulz style, and most of them unaccountably bear the latters label.
SCHIFFNER, RUDOLF
Worked at Dsseldorf, 1898-1925.
SCHILBACH, O. A.
Born at Schneck (Saxony), 1862. Pupil of E. W. Neumrker. Worked at birthplace, 1880; and at New York, 1887-1937. Died 1947. Not prolific, but good, 25 violins, 6 violas, and 2 cellos, Stradivarian modelling, brilliant red-brown varnish. Renowned for repairing, all eminent artists visited his shop.
--------------------------------
Oswald Anton Schilbach
fecit New York anno 19. .
--------------------------------
(initials double-circled)
Succeeded by son Anton Oswald (born 1893).
SCHILD, EDWIN
Studied at the Brienz Violin-making School, 1944-1948.
SCHILL, FLORENT
Worked at Geneva, 1820-1845. Specimen in the local museum, long; flat model, first-class workmanship, one-piece back with small undulating curl, and yellow varnish. Body-length 36.8 cm.; upper bouts 17.2; middle 11.1; lower 21.
----------------------------
Schill Florent
luthier Genve, 1840
----------------------------
SCHILL, OSWALD
Born 1893. Worked at Geneva until 1938, then with Deffner and Brandes.
SCHILLE
Worked at Paris, 1780-1800. Rather meritorious medium size modelling. Brown varnish not particularly transparent. Tonal quality fairly round without much sympathetic quality. 65, 1960.
SCHILLER, EMIL
Worked in Castle Street and Soho Square, London, 1898-1910. Settled at Bad-Elster (Saxony), 1930. The high degree of workmanship on the well modelled instruments confers a claim to their future importance. Fine-grain belly wood, and generally two-piece backs. Orange-red varnish of a pretty dark tint. Cellos also have no mark of disparagement stamped on them.
----------------------------
Emil Schiller
Violin Maker
No. 18. London. 1901
(15 Soho Square)
---------------------------
SCHILLER, JOHANN GEORG
Born 1783. Died 1839. Worked at Markneukirchen. Modelling which may be assigned to a relatively high standard. Scroll and sound-holes rather consonant with artistry. Tonal quality rather agreeable.
SCHILLINGS, JOSEPH
Born in Ohio State (U.S.A.), 1889. Resident at Farmer City (Illinois) 1926. Built about 50 instruments up to year 1930. Excellent Stradivarian modelling. No embarrassment of hand in the shaping of scroll or sound-holes. No botching in the purfling. Plates very carefully attuned. Instruments plentifully wooded with the best material. Dark red and brownish red shades of varnish.
SCHILTER, F. M.
Worked at Am Sattel (Switzerland), 1825-1830. Apparently an amateur who did not wander far from artistry even though he attempted originalities. Outline reminiscent of the Guarnerian, but after that, fidelity to that famous model ceases. High arching, looking particularly swollen. Edging very pronounced though neatly worked. Good wood, accurate purfling, and reddish yellow varnish. Tonal quality may be approved of and accepted by amateur quartet players.
-----------------------------
Franz Meinrad Schilter
am Sattel 1829
Kanton Schwyz
----------------------------
SCHIMANSKY, HEINRICH
Born at Clleda (Saxony), 1867. Polish parentage. Correct spelling - Szymaski - Germanised to the above. Originally a zither Virtuoso and maker. Subsequently studied Violin-making most seriously. Established at Berlin, 1897. Produced many successful imitations of the standard models, as well as some of original designs. Entirely handmade, and cleverly too. Fine wood covered with an oil varnish of own preparation, applied with artistic propriety. Tonal quality powerful and penetrative, but without the slightest harshness or shrillness, and though the instruments are built to sustain the vigorous treatment of any bowing, delicate manoeuvering is just as felicitous.
--------------------------------------------
Heinrich Schimansky
Berlin O. Frankfurter Allee No. 100
Atelier fr Knst-Geigen, Cellobau,
und Reparatur
sowie feinster Knstler-Bogen
--------------------------------------------
------------------------------------
Heinrich Szymanski
Geigen und Lautenmacher
Berlin. Frankfurter Allee 359
1927
------------------------------------
Also a brand mark with the date. Splendid productivity in artist-bows, not made by machinery, and attractively mounted. Stamped Heinrich Schimansky. Assisted by three talented sons - Johannes (born 1894), Paul (1896) and Franz (1903). 50 to 75, 1960. Bows 8 to 10.
SCHLEGEL, ALBERT AUGUST
Born 1875. Worked at Markneukirchen, 1899-1950. Good modelling and varnish.
---------------------------
Albert Schlegel
Geigenbauer
Markneukirchen i Sa.
1948
--------------------------
SCHLEGEL, MAX AUGUST
Born 1879. Brother of above. Worked at Wernitzgrn, 1905. Conscientious workmanship.
SCHLESINGER, MAX
Worked at Dresden, 1908-1925. Specialist in building fine-toned orchestral double-basses.
SCHLICHT, OTTO
Worked at Chicago, 1900. Little known work.
SCEILICK, WILHELM
Born at Gotha, 1801. Studied at Leipzig. Clever violinist and chamber-musician to the King of Saxony, at Dresden, 1830-1874. Being on terms of intimacy with those who guarded the treasures at the Royal Palace, he obtained full privilege to scrupulously examine some fine Cremonas. Set his enthusiasm alight by studying the principles of the art, and ultimately astonished everybody with the beauty of his instruments. Supposed to have formulated a process for rendering the wood free of water, acid or resin. Also caused much controversy with his discovery of the secret of Italian varnish. At any rate, he was sincere, and carried out his methods as an art instead of a trade, a wealthy man offered him sufficient money to establish a factory, but his overtures were declined. Splendid imitations of the Italian models. Chose the finest wood, but made the plates too thin, consequently the tone has deteriorated, and its inertia is regretfully obvious. Label - oval-shaped within an oblong, bearing designs of medals, and the Saxon Coat-of-Arms -
-----------------------------
Wilhelm Schlick
K. S. Kammermusikus
Dresden, 1860
----------------------------
SCHLIEPS, GEORGE
Born 1894 at St. Petersburg (Russia). Trained as a lawyer at the University there. Became interested in violin-making and studied same as a hobby with E. Geisser of St. Petersburg. After the revolution, moved to Finland where he established his own business, and there had the opportunity of studying many old Cremonas in the collection of Harry Wahl. In 1936 was called to the Sibelius Academy in Helsinki as lutier de la conservatoire, and during the last years of the 1939-1945 war was repairer of the famous collection of old instruments at the Hochschule fur Musik zu Berlin after the death of Arthur Voss. In 1947 was invited by the British Ministry of Labour to organise a violin factory in Bridgend, and during one of his visits to London, Mr. Phillips Hill asked him to go as restorer to Wurlitzer in New York and he went there in 1950 after finishing his work in Bridgend. During his work at Bridgend, he trained forty disabled soldiers, and miners (who had never held a tool in their hands) in the art of violin making. His son, Armin Andrea (born 1931) worked with him.
SCHINDLER, GUSTAV
Bow-maker at Bad-Brambach, 1930.
SCHJOLD, C. M.
Worked at Kalmar (Sweden).
-----------------------------------
Repareradt af C. M. Schjold
Kalmar Malm den 1853
-----------------------------------
SCHLOSSER, CARL
Worked at Zwota (Saxony), 1875-1899. Instruments of good design and workmanship.
SCHLOSSER, HERMANN
Worked at Erlbach, 1865-1902.
---------------------------
Hermann Schlosser
Geigenmacher
in Erlbach
Gesetzlich Gesehtzt
---------------------------
Also bows stamped with his name. 8 to 12 (1960).
SCHLOSSER, JOHANN CHRISTIAN
Worked at Klingenthal, 1730-1776. Violins of good wood and satisfactory workmanship, though not of truly elegant design. Corners sharply pointed, purfling without trace of shakiness, sound-holes slightly rigid.
-----------------------------------------
Johann Christian Schlosser, violin
macher in Klingenthal, 1773
-----------------------------------------
SCHLOSSER, JOHANN GEORG
Son and pupil of the preceding. Worked at Klingenthal, 1760-1786. Style and standard of workmanship quite imitative of fathers violins.
--------------------------------------
Johann Georg Schlosser. Violin
macher in Klingenthal, 1762
--------------------------------------
Also branded *I*G*S*
SCHLOSSER, OSKAR
Worked at Treuen (Saxony), 1860-1896.
--------------------------------------------
Oskar Schlosser. Instrumentenbauer
Treuen i Vogtland
--------------------------------------------
(branded within an oval)
SCHLTER
Three generations of violin makers at Barntrupp, 1820-1890. Instruments very popular throughout Lippe (principality of Germany).
SCHMAHL, CARL F.
Organ-builder who repaired violins at Regensburg (Bavaria). Assisted by two sons. Died 1815.
-------------------------------------
C. Friedr. Schmahl und Shne
in Regensburg 1812
-------------------------------------
SCHMALZRIED, PAUL
Born 1872. Famous artist-painter at Ulm-on-Danube. Studied the theory of violin construction, and made first instrument in 40th year. Subsequently produced forty specimens, all parts and accessories done by his own hand and with self-made tools. Created a semi-original model though very suggestive of Stradivarian influence, and gave it certain idiosyncracies of his own theorising concerning weight of top and bottom plates. Varnish of various shades (also from own recipe), having the essential qualities of elasticity and brilliance. Tonal quality very responsive and (according to some reports), overwhelmingly powerful.
-------------------
P. Schmalzried
Ulm-a-D. 19. .
-------------------
Monogram branded on button.
SCHMELTZ, OTTO
Worked at Ingolstadt (Upper Bavaria).
SCHMERLER, ROBERT
Worked at Zwota (Saxony), 1880-1895.
SCHMIDBAUER, JACOB
Worked at Ratisbon, 1830-1845. Some good Amatese models, others rather indifferent. Reddish yellow varnish. Also cellos in Amatese style.
----------------------------
Jacob Schmidbauer
fecit Ratisbonne, 1837
----------------------------
SCHMIDT, ALBIN THEO
Born 1864. Worked at Markneukirchen. Died 1936. Conscientious workman.
SCHMIDT, C.
Worked at Btzow. Repairer who tonally improved any dilapidated old fiddle, and often achieved astonishing results.
---------------------------------------------------
Repariert und im Ton
veredelt von C. Schmidt in Btzow, 1841
---------------------------------------------------
SCHMIDT, CARL FRANZ
Born 1839. Died 1875. Son of Franz, Worked at Vienna. Won diplomas at Vienna Exhibition, 1873. Excellent imitations of Cremonese models. Proportions consonant with established theoretical principles. Maggini model instruments especially interesting. Tonal quality and catalogue prices variable.
---------------------------------
Carl Franz Schmidt
burgl: Instrumentenmacher
in Wien, anno 1865
Stadt Klostergasse No. 4
--------------------------------
(very attractive border)
SCHMIDT, C. H. C.
Viol-da-gamba in the Bach Museum at Eisenach.
-------------------------------------
C. H. C. Schmidt
Luthier zu Wrzbach en 1830
-------------------------------------
SCHMIDT, ERNST ALBIN
Born at Markneukirchen, 1863. Pupil of A. A. Reichel. Worked at Amsterdam.
SCHMIDT, ERNEST OSCAR
Born at Markneukirchen, 1891. Son and pupil of E. R. Worked at Cleveland (U.S.A.), 1909, with a brother. Violins modelled after Strad, Pressenda and Vuillaume. Spirit and oil varnishes. Also excellent Stradivarian cellos.
SCHMIDT, ERNST REINHOLD
Born at Markneukirchen, 1857. Apprenticed to Julius Kretzschman, 1871-1874. Worked for Bausch, and Hammig at Leipzig; also for Riechers at Berlin. Built several new instruments during this period and repaired hundreds. Returned to Markneukirchen 1880, established his own workshop, and subsequently built a factory, assisted by his sons and a large staff of workmen. Won gold medals at Vienna and Leipzig, 1892 and 1913. Died 1928. Funeral attended with great pomp.
Various grades of commercial instruments known by the generic title of Schmidts Standard. Artistic modelling and workmanship together with reasonable prices caused the instrurhents to be universally distributed. Most careful selection of wood for its acoustical properties; accurately proportioned and capitally finished in every detail. Constructed violins to any specifications submitted by various dealers. Spirit and oil varnishes according to grade. Artist-violins and solo-violins made entirely by his own hands. Grand-Amati patterns, orange-brown varnish, and pretty wood. Fine copies of a Guarnerius, with orange-red varnish. Artistic replicas of a Stradivarius, with a soft golden-brown varnish. Cheaper grade violins generally of a glossy yellow spirit varnish. 25 to 65, 1960.
------------------------------------------------------------------
Antonius Stradivarius
made by E. R. Schmidt & Co. Violin Makers, Saxony
only genuine when bearing our written signature.
E. R. Schmidt.
------------------------------------------------------------------
Monogram on back button. Number of instrument, 972, stamped at the top of the neck. Similar labels bearing other Cremonese names. Inventor of several little appliances connected with stringed instruments. Also bows of various grades and imitations. 6 to 12, 1960.
SCHMIDT, FRANZ
Born in Bohemia, 1814. Died 1870. Worked at Vienna. Modelling amply expounded but without distinction. Rather warm hue of brownish varnish. Also guitars of various models.
--------------
Schmidt
in Wien
Anno 1838
--------------
(with design of two violins)
-----------------------------------
Franciscus Schmidt
fecit in Viennae, Anno 1839
-----------------------------------
SCHMIDT, HERMANN AUGUST
Born 1871. Worked at Markneukirchen. Died 1941.
SCHMIDT, JOHANN GEORG
Worked at Ellwangen (Bavaria), 1740-1770. Modelling of medium arching. Contour not entirely prepossessing; waist-curves have a rather pronounced swerve from the middle downwards. Unusually deep ribs, giving the instrument a flatter appearance than actually. Precipitous scroll of some originality, but front part of head seems to be tumbling forward. Sound-holes not nicely stemmed, verge on straightness, and apparently set too close to sides. Golden-brown varnish of fairly substantial texture. Belly wood generally acoustically good. Tonal quality semi-mellow and not especially clear. 20 (1920). Not unlike some of the instruments of Benedict Wagner. 65, 1960.
------------------------
Johann Georg
Schmidt in Ellwang
Anno 17. .
-----------------------
SCHMIDT, JOHANN
Established at Graslitz (Bohemia), 1883-1922. Various grades of stringed instruments. Trade instruments of superior class. Recipient of several Exhibition medals.
SCHMIDT, J. CHRISTIAN
Worked at Furth (Bavaria), 1886. Died 1918. Violins with capricious modifications in their form. A few soloists testified to the remarkable richness, flexibility and sonority of tone, but others have passed less laudatory verdicts, and placed the tone on a plane with the wearied.
SCHMIDT, JOHANN OGTTFRIED
Some writers give Jacob Christian as christian names. Worked at Cassel (Germany), 1790-1828. Slight German influence in the Stradivarian outline and fairly flat arching. Other details have much finicky touches. Edges too overlapping and heavy-looking, also altogether faulty and rather ugly. Purfling placed further than usual from the edge. Ribs absurdly wide; deeply cut scroll without grace of swing. Sound-holes also feel the effect of indifference in their positioning. Plates of belly and back faultily thicknessed and frequently too thin. Belly wood alternates between narrow and wide grain, and seldom of good properties. Backs generally of material showing little or no flame. Varnish frequently of undesirable quality, occasionally shades of light brown and old-gold producing more favourable results, but most of the instruments have a brittle spirit varnish, while on some it is replaced by an ordinary polish. Common-looking things from top to bottom. Tonal quality sometimes fairly strong, but very uneven and absolutely without warmth. Produced better designed viols with ingeniously cut cherubic heads.
SCHMIDT, JOHANN MARTIN
Worked at Pressburg (Austria-Hungary), 1800-1812.
-----------------------------
Johann Martin Schmidt
Pressburg 1805
-----------------------------
SCHMIDT, KURT
Born 1899. Worked at Markneukirchen and Dresden. Several grades of serviceable bows; heads of standard types well imitated. 10 to 12.
SCHMIDT, KURT WOLDEMAR
Born 1888. Worked at Zwota (Saxony), 1918. Good workmanship in all details and pleasant looking varnish.
SCHMIDT, MORITZ (JUNR.)
Born 1857. Son and pupil of Moritz Eduard. Worked at Markneukirchen, 1890. Died 1935. Excellent copies of standard models.
SCHMIDT, PAUL GERHARD
Born at Altona, 1902. Pupil of Jurgens (Hamburg) and Ostler (Mittenwald). Worked at Vienna and Budapest. Established at Amsterdam, 1929. Expert modelling of the old Dutch-Amatese style. Varnish of own formula (yellow to red) beautifully applied the ancient splendours of shading. Violins, violas, cellos, guitars, quintons and viol-da-gambas. Also a modern model of the old five string viola-pomposa (form of cello). 60 to 85, 1960.
SCHMIDTUTZ, J.
Worked at Kula (Serbia).
----------------------------------
Jozef Schmidtutz
hangszerek Kesziteje
Musikinstrumenten Macher
Kula 1919
----------------------------------
SCHMIED, JOSEF
Worked at Pressburg. Pupil of Geissenhof. Design (so much like that of his teacher) and workmanship leaves nothing to be desired.
-------------------
Josef Schmied
Pressburg 1811
-------------------
SCHMIED, SOMA
Worked at Budapest, 1896. Fine modelling and very picturesque application of varnish. Strong and brilliant tone.
SCHMIRLER, JOHANN
Bow maker at Schnbach, 1925.
SCHMIRLER, JOSEF
Born 1818. Worked at Schnbach. Died 1857. Pupil of C. Werner. Developed himself to mastership, assumed a dominant influence in Bohemia, and had a host of imitators. Faultless modelling and workmanship. Tonal quality approaching much purity and resonant force. Varnish of own preparation, mostly yellow-red or reddish brown. Worked largely for dealers, therefore seldom used a label with his name.
-------------------------------------
Josef Schmirler Geigenmacher
in Schcnbach, 1842.
-------------------------------------
SCHMIT, JOHANN
Born at Hannover, 1776. Worked at Carlsbad. Died 1853. Violinist and musical director until 1835. Repaired instruments in youthful days; made first violin in 1819, went on progressively and industriously; completed 250 violins. Many amateur players partook of his enthusiasm and united in circulating his violins. Paganini also passed enconium on them when he visited that famous watering place. Tonal quality particularly clear and round, not especially strong but certainly velvety and suave, supposed to be due to a specially prepared varnish. 90, 1960.
----------------------
Musicus Schmit
in Carlsbad, 1825
----------------------
(border of small diamond shapes)
SCHMITT, DOMINIK
Born in Bavaria. Worked at Rome. 1640; and at Mantua, 1650.
SCHMITT, EUGEN
Worked at Magdeburg (Saxony), 1925.
SCHMITT, LUCIAN
Born at Julien-en-Genevois, 1892. Studied the violin at Geneva Conservatoire and carried off first prize for solo playing. Subsequently attacked with enthusiasm the constructive art and went to Mirecourt where he spent two years in the atelier of Mougenot-Jacquet-Gand, and was initiated in bow making by Bazin. Worked for Vidoudez at Geneva, and never ceased to express his gratitude for all he learnt in restoration from that very conscientious man. Employed by Lorange at Lyons, by Madame Bovis at Nice, and by Caressa and Franais at Paris. Established at Grenoble, 1922. Resident at Meylan (near Grenoble), 1941. Conceived three designs of considerable originality. One maintaining the Amati outline, designated modele normal but of independent character in all other details. The second, inspired by the Guarnerius in outline and titled modele de Soliste, is not so long as the Amatese but of slightly larger proportions in every other way. This model has a remarkably puissant sonority of tone, further characterised by a peculiar penetrativeness, smoothness and clarity. Body length, 35.8 cm. Arching nicely elevated towards the centre, and the part between the waist curves given greater breadth than is customary with the Guarnerius. Ribs rather shallow, upper 27.5 mm.; lower 29. Backs always of one piece. Sound-holes of transcendental grace, uniquely personal, beautiful curvature, stem of artistic width, remarkable parallelism in the cutting of the upper and lower wings (the straight turn down of the upper and the nearly straight turn up of the lower, affording strong contrast to the superb roundness surrounding the top and bottom apertures). The third (baptised Mieulx ne Scay), is very individualistic, perfect workmanship and magnificent tone. 50 to 100, 1960.
---------------------------------
Lucien Schmitt
Luthier Grenoble - 1929
---------------------------------
(L.S.G. and a violin scroll forming a monogram)
Utilised in two ways:
(1) printed entirely black for Normal Models;
(2) in red and black for specially selected Solo violins.
The latter arrayed with a gloriously brilliant varnish of own formula, golden red shade and plentifully applied. Also bearing his signature, branded with monogram in the interior under the button and fingerboard, and the mortise of the peg box.
Also larger labels of artistic design-
-------------------------------------------------------------------------
1949. No. 120
Instrument dessin
et entirement Lvcien Schmitt Violonier dArt
excut par Grenoble.
Mielx ne Scay
-------------------------------------------------------------------------
Branded L.S. surrounded by a large G.
SCHMOLL, RUDOLF F.
Born at Hannover (Germany), 1904. Worked at several towns in U.S.A., 1926-1932. Established at Portland (Oregon), 1934. Strad and Guarnerian modelling. Oil and spirit varnishes, orange-yellow and red-brown shades. Nice workmanship in all details.
SCHNABL, EDUARD
Worked at Gossengrn (Bohemia), 1895-1935.
SCHNARCHENDORFF, D.
Scroll noticeably flat at the front. Ungraceful outline having a squarish aspect. Vandyke-brown shade of varnish rather hard in texture. Tonal quality deprived of free response.
-----------------------------
Daniel Schnarchendorff
Instrumentenmacher
in Berlin 1848
-----------------------------
SCHNEBELE, JACOB
Lute maker to Bavarian Princes. Worked at Trausnitz, near Landshut.
-----------------------
Jacobus Schnebele
A.D. 1573
-----------------------
SCHNEIDENBACH, GEORG ADAM
Worked at Klingenthal (Saxony), 1787-1799. Some instruments outlined and graduated as only a man of merit could accomplish. Brownish yellow varnish of warm hue. Also made double violins, two bodies joined together through the centre.
SCHNEIDENBACH, J. CARL
Son of the preceding. Worked at Klingenthal, 1800-1815. Fairly flat modelling, old yellow varnish, good tone. Branded J*C*S.
SCHNEIDER, ALBIN
Worked at Dresden, 1892. Author of Acoustical Problems in Violin Construction (1903).
SCHNEIDER, ALFRED FR
Worked at Liegnitz (Silesia), 1940. Good modelling and varnish.
SCHNEIDER, ANTON JOSEF
Worked at Markneukirchen, 1810-1840. Commonplace work. Hopf model.
SCHNEIDER, CARL
Worked at Klingenthal, 1765-1790. Broad and flat modelling not unlike the Hopf. External appearance wholly attractive, well cut scroll and sound-holes, but inside workmanship slovenly, frequently without linings and corner blocks. Fine grain belly wood and backs of strong (but not always beautiful) figure. Reddish brown varnish of hard texture. Tonal quality operates powerfully but sometimes unpleasantly.
----------------------------------
Carl Schneider Violin
macher in Klingenthal 1777
----------------------------------
SCHNEIDER, F. EDMOND
Born in Germany. Worked at Stockholm, 1894-1937.
SCHNEIDER, FRANJO
Born at Koncanica (Serbia), 1903. Worked at Prakrac, 1925; and at Zagreb, 1928. Fine reputation in that country. Splendid Strad modelling, impeccable workmanship, golden yellow or rosy red varnish, brilliant tone.
------------------------------------------------------------------------
Artisque melodle aeterne divi sacvlo
Amoris opus Franciscus Schneider rvm soni
fecit Stara Gradiska anno 19. .
Intla ll mali claritates mentis.
------------------------------------------------------------------------
SCHNEIDER, OTTO
Born at Breslau, 1906. Worked at Markneukirchen. Died at Glogau, 1945. Conscientious worker.
SCHNICKE, HARRY
Born at Cincinnati (Ohio), 1871. Portrait painter. Violinist in Cincinnati symphony orchestra. Self-taught by studying the Cremonese. Produced first instrument, 1892. Completed 50 or so during the next 25 years. Consecrated his abilities to the noblest of purposes (that of not differentiating from the Cremonese principles, but of regenerating them), and the results are not without considerable fruit. Various models but favouring the Stradivarian and Guarnerian. Also various shades of varnish to suit the models.
---------------------------------------------
H. Schnicke
Old and New Violins
N.W. Cor. Bellevue and Stetson Sts.
Cincinati. Ohio.
---------------------------------------------
-------------------------
H. Schnicke, Maker
No. Cincinnati 19-
-------------------------
One of the most important facts (facts, because demonstrable) to him is that science or workmanship alone can never produce the great violin. By means of exact measurements much may result, but master violins are created by feeling; in other words, the maker must possess an appreciation of fine violin tone or he will not know when he has achieved it. Science cannot give him that appreciation, he must feel it. Fine workmanship is very desirable and greatly to be admired at any time, but much of the work of Guarnerius, Testore and Storioni, proves that wonderful violin tone is not dependent upon technically perfect workmanship. On the other hand, the almost faultless finish of a Stainer does not make his instruments the choice of artists or connoisseurs today. It is the old difference of master and genius repeated; the first is the scientifically and technically trained craftsman, the second, an independent creator consistently individualistic, who generally cannot explain how he arrives at a certain ideal. The result of his work suffices. The one works by knowledge, facts and figures, the other by inspiration added to those essentials.
SCHDLER, SIMON
Worked at Passau (Bavarian), 1750-1787. Violins rather reminiscent of the Joseph Hornsteiner style. Stainer model expressed with eloquent simplicity. Thrown-out edging and sharply pointed but delicate corners. Yellow or orange brown varnish frequently somewhat cloudy and of melancholy aspect. Tonal quality not conspicuous in sonority or roundness. Also built viols with decorative heads.
------------------------------------------
Simon Schdler, Lochfurstl:
Hof Lauten und Geigenmacher zu
Passau im Jahre 1785
------------------------------------------
(German lettering)
SCHOEMAKER, C.
Born at Amsterdam, 1903. Studied at Leipzig. Worked at Laren, 1930. Principally guitars, also a few well made violins.
----------------------------
Atelier voor
Artistieke Gitaarbouw
C. Schoemaker
Laren N.H.
No. . . . . 19. . . .
----------------------------
SCHOENFELDER
see SCHNFELDER.
SCHOLES, ARTHUR L.
Born 1870. Resident at Rushden (Northampton); at Bedford, 1924; and London, 1926. Made first instrument in 18th year. Dolphin-Strad and Guarnerius models, also a few of original design. All details judiciously harmonised and properly executed. Scroll and sound-holes endowed with considerable grace. Splendid material, very good oil varnish, most satisfactory tone.
-----------------------
Made by
Arthur L. Scholes
Rushden. England.
No. 11 1914.
-----------------------
(decorative border)
Other labels dated from Bedford.
SCHOLL, HERMANN
Worked at Grenoble (France), 1911-1930. Violins, violas, quintons, cellos and double basses. Various models: Strad, Guarnerius, Amati and Stainer, but not replicas. Superb workmanship and varnish. Claimed to have made deep and patient researches in thicknessing, etc., and that every instrument had complete homogeneity of the four strings. Also that some had the timbre of a flute, oboe or clarinet (which to us is impossible).
SCHOLL, THEODORE ROOSEVELT
Born at Salem. Pupil of Farnham at San Diego. Guarnerius model mainly. Excellent workmanship and a fine transparent varnish.
----------------------------------
Monarch
Made by
Theodore Roosevelt Scholl
San Diego. Calif 1928
Scroll carved by maker.
----------------------------------
SCHOLLIN, MATHIAS
Worked at Novy Hradec (Bohemia), 1750-1760. Modelling peculiarly original, unusually long. Brown varnish of warm tint and acceptable transparency.
-----------------------------------
Mathias Schollin Instrument:
fecit Neo-Hradecii. 1754
-----------------------------------
SCHOLTE
Worked at Amsterdam. Violin exhibited at Liege, 1930; individualistic modelling, high arching, small sound-holes and scroll, not very fine workmanship. Very transparent yellow varnish and a flowery inlay at each corner.
--------------------------------------
D. Scholte
Ft. Ao. 1791 Amstelodamensis
--------------------------------------
SCHOLTZ, DANIEL
Worked at Guhrau (Silesia), 1785-1790. Squarish looking model, plain wood, no purfling.
-----------------------
Daniel Scholtz
Guhrau Ano 1789
-----------------------
SCHOMBERA, CARL
Born 1781. Worked at Prague. Died 1821. Violins and guitars similar in style to those of Strnad (his teacher).
------------------------
Carolus Schombera
fecit Pragae. 1806
------------------------
SCHNEWALD VIOLINS
Pretty wood violins. Advertised in London Journal, 1910.
SCHNFELDER, CARL GOTTLOB
Born 1789. Died 1876. Worked at Markneukirchen. Produced several excellent specimens of true Saxonian work of his period. Rather broad modelling with no sufficiently obvious originality. Medium arching, rising inartistically from the grooving, then running almost flat to the centre. Scroll reminiscent of Amati. Sound-holes positioned rather upright. Belly wood usually of fine vein, backs and ribs of small figured maple. Brown varnish to which we concede praise. Inside work not always consistent with the searching fidelity of accuracy. Tonal quality fairly resonant and semi-warm in sympathy.
--------------------------------
Carl Gottlob Schoenfelder
in Neukirchen bey Adorf
Fecit 1814
-------------------------------
SCHNFELDER, CASPAR
Born 1642. Exiled from Graslitz, 1677. Went to Markneukirchen and became foreman of the Violin Making Guild, 1690. Worked until 1714, then returned to Graslitz. Also managed a bakery. It is related: that his wife was fetched in 1706 from the house of Reichel in order to admire a freshly boiled superior varnish; the varnish caught fire and she sustained such frightful burns she died in a few hours.
@ SCHNFELDER, CHRISTIAN GOTTFRIED
Born 1736. Master of the Guild at Markneukirchen, 1755. Died 1785. Copied the model of D. A. Stadlmann.
SCHNFELDER, EMIL KARL
Born 1877. Worked at Wernitzgrn, 1900. Died 1948. Good workmanship and style.
SCHNFELDER, HERBERT EMIL
Born 1898. Brother and pupil of above. Worked at Hannover, 1930. Good copies of ancient models.
SCHNFELDER, JOHANN
Emigrated from Graslitz, 1655. Settled at Markneukirchen where he had liberty to practise the Evangelical religion, and in 1677 founded the Violin Making Guild. Died 1688.
SCHNFELDER, JOHANN (HANS) ADAM
Born 1707. Died 1763. Instruments far in advance of those of predecessors. He engendered that spark which kindled and spread with the rapidity of lightning over that part of Europe and produced at length the steady light which attracted everybody to Saxonian industry. Also apparently not averse to occasionally practising a little deception in proclaiming he sprang from the Tyrolese school in order to interest purchasers. Very good workmanship considering the period. Rather prepossessing modelling of medium arching. Excellent acoustical belly wood, narrow and wide grain and generally one piece backs of small flame. Yellow-brown or red-brown varnish. 60, 1960.
-----------------------------------------
Johann Adam Schnfelder Violin-
macher in Neukirchen. Ao 1743
-----------------------------------------
SCHNFELDER, JOHANN CHRISTIAN
Worked from 1770 to 1821. Amatese outline but of more robust dimensions. Nice belly wood, usually of medium grain and one piece backs frequently of rather plain material. Light brown or red-brown varnish of good texture. Tonal quality of considerable mellowness and relative strength.
---------------------------------------------
Johann Christian Schnfelder
Violinmacher aus Markt Neukirchen
---------------------------------------------
-----------------------------------------
Johann Christian Schnfelder
Violinmacher in Neukirchen 1774
-----------------------------------------
SCHNFELDER, JOHANN GEORG (1)
Born 1653. Son of Johann. Exiled from Graslitz. Worked at Markneukirchen from 1677. Died 1722. Posed as living at Cremona.
--------------------------------------
Joannes Georgius Schnfelder
probe Violino in Cremona
1712.
--------------------------------------
Also branded I*G*S inside on back.
SCHNFELDER, JOHANN GEORG (2)
Born 1750. Died 1824. Worked at Markneukirchen, but not at Cremona. Undoubtedly the most skilful craftsman of this family. Model of splendidly large dimensions, outline distinctively pleasing; beautiful arching of slight rise. Scroll and sound-holes quite attractive. Bellies often of one piece, backs of handsome flame. Varnish either of golden yellow or a darker orange shade, very seldom applied the brown associated with the other members. Tonal quality of reliable freshness and fair smoothness.
------------------------------------
Iohann Georg Schoenfelder
Lauten und Geigenmacher in
Neukirchen bey Adorf 1794
------------------------------------
----------------------------------------
Johann Georg Schoenfelder
Probe Violino Coresp: Cremona
Fecit 17-
----------------------------------------
Also branded I*G*S inside on the back. 75, 1960.
SCHNFELDER, JOHANN GEORG (3)
Born 1771. Worked at Markneukirchen. Died 1844. Best specimens date from 1824.
SCHNFELDER, SIMON
Son of Johann (1). Master in the Guild in his 20th year. Worked for nearly 70 years and died about 1745. Very talented maker and became one of the most prosperous residents in the village, and built himself an imposing house.
SCHONGER, CARL
Son and pupil of Franz. Worked at Erfurt (Saxony), 1776-1820. Instruments efficiently intended to be of Italian style but generally too large in dimensions to be true transcripts of that school. Superior to those of his father because the arching is reduced and the wood is thicker. Good varnish also somewhat akin to that of the Italian
---------------------
C. Schonger
Erfordiae. 1802.
---------------------
SCHONGER, FRANZ
Son and pupil of Georg. Worked at Erfurt, 1750-1776. Italian outline, broad model and unhappy high arching. Wood also worked too thinly. Brown varnish as poor as the wood underneath. Blatant tonal quality, nervous in response when subjected to undue agitation by vigorous bowing. Over-valued at 20. Cellos seem to belong to another hemisphere in construction and tone. Good specimens have realised 45. 65, 1960.
-------------------------------
Franz Schonger
Lauden & Violinmacher
in Erfurt Ano 1769
-------------------------------
-------------------------------
Franz Schonger
Lauten u. Violin Macher
in Erfurt. 1776
-------------------------------
SCHONGER, GEORG
Born at Vils (Bavaria), 1660. Went to Italy and Latinised his name to Scongneri. Wandered to Erfurt and worked there until death in 1740. Amatese influences but freedom of thought unwisely exercised in broadening the model.
SCHONGER, JOSEPH
Born at Erfurt, 1812. Originally destined to follow the calling of a priest, but found violin making more attractive. Trained by his father, Franz, settled at Cassel, 1838, enjoyed years of friendship with Spohr, died there, 1888. Made similar instruments to those of father. Subsequently ceased to construct and gave his skill to repairs. Also a dealer in violins from the Tyrol and Saxony. Inventor of the once popular Spohr chinrest.
SCHOOFS, FRANOIS
Worked at Brussels, 1925.
SCHORN, JOHANN JOSEPH
Worked at Salzburg, 1716-1726. Instruments rarely seen.
---------------------------------
Johannes Iosephus Schorn
fecit Salisburgi, anno 1716.
---------------------------------
SCHORN, JOHANN PAUL
Worked at Innsbruck (Bavaria), Mittenwald and Salzburg (Austria), 1680-1718. Lute player and chamber musician to the Archbishop. Early instruments reminiscent of Albani and Stainer. Sometimes rather tubby in the arching, occasionally reduced to medium. Incidental details judiciously conceived. Later instruments generally of broader pattern, with charmingly felt curves and attractive edging. Remarkable also for solidity of style. Scroll though not especially dignified, is signalised by crispness of touch. Also built a few transcripts of the smaller Amatese model, worthy of considerable eulogy. Some instruments have the front rather pronounced in arching while the back is nearly flat. Sound-holes frequently long and slightly Italianesque. Variable belly wood, sometimes of narrow vein and as often of wider and stronger fibre, but always of splendid acoustical properties. One and two piece backs usually of rather plain material, seldom any of pretty figure. Ribs likewise. Reddish brown varnish of dark shade not unlike the Albani, sometimes brittle-like spirit varnish but also sometimes of softer elastic quality applied thickly. Other instruments varnished light brown and golden yellow. Tonal quality fairly strong, sometimes rather hard, never bright or brilliantly responsive, not of any especial penetrative propensity and seldom really mellow. Violin in the Cherubini Museum at Florence; one piece back, dark reddish brown varnish, peg box surmounted by a sculpted head representing a lion lying full length. Body length 35.1 cm.; upper bouts 16.2; middle 11.2; lower 19.8. 85, 1960.
--------------------------------------
Joann Paul Schorn
H.F. Musicus auch Lauten
und Geigenmacher in Salzburg
Ao. 1716
--------------------------------------
(with monogram drawn by hand)
-------------------------------------
Joannes Schorn, Hoff Lauten
und Geigenmacher. Salisburgi
1708
-------------------------------------
Produced various forms of lutes and viols. Some instruments dated as late as 1764 and 1780; probably made by a son named Johann.
SCHOVANEK, PETR
Born in Bohemia. Pupil of Patocka. Worked at Kiev. Established at Pasek-on-Isar, 1935.
SCHRADER, G. ADOLF L.
Worked at Bremen, 1870-1902. Head of the violin department at A. E. Fischers shop. Produced many violins, violas and cellos of various grades mostly as commercial merchandise. Very skilful workmanship.
SCHRADIECK, HENRY
Celebrated German violin virtuoso and pedagogue. Resident in Cincinnati and New York for many years. Became interested in violin construction (1885) and endeavoured to find out the secrets of the Cremonese. Assumed that those makers used the so-called balsam pine, and that the peculiar tone transcendancy of their instruments was due to this material. Claimed that he had discovered the same species of wood in America; arranged for violins to be built according to his specifications by a reputed maker, and trumpeted the news throughout America and Europe. The instruments enjoyed the usual temporary brilliant success of most innovations, created heated controversy or convincingly crushing contradictions from influential makers, and finally the alleged glorious discovery utterly collapsed. A pamphlet was published at New York.
SCHRADIECK, JULIUS W.
Son of Henry. Established at New York, 1901-1920. Artistic repairing attracted so many amateurs and soloists that the output of his own design instruments was necessarily limited.
SCHRAGE, THEODOR
Established at Berlin, 1908. Died 1931. Worked many years for Herrmann & Son. Produced magnificently modelled reflections of the Vuillaume style. Alexander Sebald (famous technician) used one on all his tours in Europe and America.
SCHRAMM, JOHANN GOTTLOB
Worked at Gotha (Thuringia), 1803-1850. Violins between the ordinary and the mediocre. Tonal quality of the kind that brings forth acrimonious ejaculations from most players. Bows on quite a different plane, and he was able to command as much as ten shillings for one - considered a high cost in Germany in his time.
-------------------------
Joh. Gott. Schramm
Anno 1805 in Gotha
-------------------------
SCHRECK, RUDOLF
Worked at Berlin, 1715-1735. One of the earliest to settle in the German metropolis Very scarce violins, pleasurable to the eye, the past and the Present are here amalgamated and the years that lie between them seem to have vanished. In other words, they are so strongly constructed and covered with a very durable varnish that they have almost the appearance of something produced within the last 50 years.
----------------------------
Rudolf Schreck Violin
macher in Berlin 1728
----------------------------
SCHREIBER, EDUARD
Born at Schaffhausen, 1864. Shoe maker. Stradivarian modelling, brown varnish. Style and tone highly commended by Szigeti (famous virtuoso).
----------------------------------
Eduard Schreiber
Geigenbauer No. 9
Schaffenhausen. anno 1921
----------------------------------
SCHREIBER, FRANZ
Bow maker at Ober-Schnbach (Bohemia), 1930. 12, 1960.
SCHREIBER, PHILIPP
Born at Markneukirchen, 1875. Worked for Briggs at Glasgow, 1895, and at Antwerp, 1903. Returned to Glasgow, 1914.
---------------------------
Fait par Ph. Schreiber
Anvers. Lan 19. .
---------------------------
SCHRDER, J. H.
Born in Germany. Worked at St. Petersburg, 1810-1825.
SCHRDER, SIMON
Worked at Passau (Bavaria), 1750-1785. Stainer outline and arching, unrefined workmanship, corners short and blunt, widish purfling, ordinary scroll frequently replaced by a female carved head, yellow-brown or reddish-brown varnish not especially transparent.
SCHRDER, WILLY ERNST
Bow maker at Markneukirchen. Born 1878. Died 1925. Good workmanship. 8 to 12, 1960.
SCHROEDER, JOHN G.
Born at Neuhaus (Hannover), 1870. Established at New York, 1900-1925. For many years consulting expert of old master violins at the Custom House. Made interesting experiments with American woods, but failed to convince himself that they would ever supplant Tyrolese pine and Hungarian maple. Violins catalogued at 200 dollars. Resemblance to Crernonese modelling very determinate. Every item of detail shows his splendid assiduity to accomplish the superfine. Advertised them as Violins as they should be - powerful, sweet, responsive. Cellos accurately designed and beautifully varnished. Catalogued at 400 dollars. Renowned virtuoso (in former years) on the guitar and mandoline. Built many artistically conceived instruments of this class.
-------------------------------
J. G. Schroeder
Made in New York 1904
-------------------------------
(bearing autograph and initials within an artistic design)
SCHROEPER, JOHN
Born in Bohemia, 1886. Made first instrument 1907. Worked at Antijo (Wisconsin), 1920. Produced 100 violins up to year 1940. A few finely decorated with clever inlaid designs.
SCHUBERT, ANTON
Worked at Grlitz (Silesia), 1860-1890.
SCHUBERT, PAUL
Bow-maker at Markneukirchen, 1926. Descendant of a family of bow makers working in the same town since 1848. Specialised in artist-bows. Stamped Paul Schubert on the stick. Also the trade-mark an all conquering eagle with widespread wings over the letters P.S.M. impressed on the saddle. None genuine without both these marks. Invented a bowed instrument with strengthened sound, 1921. 15, 1960.
SCHUBERT, RICHARD
Born at Markneukirchen, 1872. Worked for the best makers in Germany, Austria and England. Established at San Francisco, 1910. First instrument dated 1892. Produced 200 violins and a fair number of cellos up to year 1927. Fine records of a very experienced craftsman. When first launched they underwent the usual discussions and contests, but their splendid current of tone weathered every wave. Stradivarian and Guarnerian modelling with modifications. Various shades of varnish, but mostly one of reddish-brown hue. Considerable spirit of elasticity prevails in his finely finished bows.
------------------------------
Richard Schubert
fecit San Francisco 19. .
------------------------------
SCHUCHT, JOHN HENRY
Patented (1868), a suggestion that the sound-plates should be built of alternate plates of hard and soft wood glued together.
SCHULT, F.
Worked at Hanover, 1912. Conscientious workman who turned out many worthy violins.
SCHULT, J. H.
Born 1866. Pupil of Schnemann. Settled at Lbeck, 1896. Maker to the Grand Duke of Mecklenburg, 1907. Medallist at Turin and Schwerin. Violins and cellos of fine modelling and faultless workmanship. Very acoustical old material covered with a varnish of own formula, having advantageous properties. Tonal quality establishes full rights to sonorous responsiveness and brilliance. Assisted by his son Ernst Friedrich (born 1897).
-------------------------------------------
J. H. Schult
Streich-Instrumentenmacher J.H.S.
Lbeck. Anno 1916
-------------------------------------------
(with the Lbeck Coat-of-Arms)
Also branded.
SCHULTERUS, AUGUST ANDERS
Born 1869. Amateur at Gropen (Sweden). Won medal at Stockholm, 1925, for well-made violins and viols.
SCHULTZ, HENRY F.
Born in Massachusetts, 1867. German parentage. Worked many years for various firms at Boston, then set up own place, 1923. Various models, but favoured the Stradivarian, and one with original modifications. Specialist in the nationalities of instruments and the reproduction of old tonal qualities, consequently some instruments have a strong tone, others softer.
-------------------------------
Henry F. Schultz. Maker
Boston. Mass. U.S.A.
Date . . . . . .
-------------------------------
SCHULZ, AUGUST
Born 1871. Pupil of Roth at Markneukirchen. Established at Nrnberg (Bavaria), 1902-1926. Stradivarian modelling, smooth workmanship, and satisfactory tone. Achieved greater fame for truly fine guitars and lutes, also innovations connected with them.
----------------------------------------------------
Preisgekrnt Stuttgart 1908
1906 1905
Gold medaille August Schulz Silb. medaille
----------------------------------------------------
(white lettering on black ground)
SCHULZ, ERNST
Born 1896: Son and pupil of August. Worked at Nrnberg and Stettin, 1943.
SCHULZ, PETER
Born 1808. Worked at Wrzburg, Dessau and Rotterdam. Settled at Regensburg (Bavaria), 1830. Died 1871. One of the most reputed of German makers. Instruments indisputably of the highest class Stradivarian, Guarnerian and Maggini modelling, each tinged with German characteristics. Acoustically good belly wood, and backs of handsome flame. Exterior details happily harmonised. Fatty oil Varnish of a brilliant reddish-orange shade. Tonal quality satisfyingly full and responsive, but not always pure and silvery. 90, 1960.
----------------------------
Petrus Schulz, fecit
Ratisbonae anno 1830
----------------------------
----------------------------------
Petrus Schulz Ratisbonensis
faciebat anno 18. .
----------------------------------
------------------------------------
Petrus Schulz, Chitter und
Geigenmacher in Regensburg
anno 18. .
------------------------------------
Ratisbon - Latin name for Regensburg.
SCHULZ, W. J. T.
President of the Harmony Company, Chicago, 1908-1915. First-class commercial violins built on Markneukirchen principles. Generally Stradivarian modelling, pretty reddish varnish, everything cleanly finished.
SCHULZE, CARL
Worked at Berlin, 1882-1908. Studied the Sensations of Tone by Helmholtz. Discovered that the proportions ,existing between certain dimensions of the Strad model, corresponded exactly with the ratio of certain musical intervals. Also found that the interior volume of the model is an accurately determined acoustic space. Made other investigations, put all the theories together, applied practical tests by making new instruments exactly proportionate, and claimed that he had resuscitated the Cremona tone.
----------------------------------------
Gef. Carl Schulze in Berlin 18. .
No.
----------------------------------------
Classical prototypes which he used were Strads from 1700 to 1725. Interior body length, 346-1/2 mm. Bridge-point divides the fundamental length in the ratio 6:5, corresponding to the interval of the minor third. Ratio of upper to middle part, 5:4, corresponding to the major third. Ratio of bottom to middle part, 3:2 correspdnding to the fifth. Position of sound-post divides the inner length in two parts in the ratio 4:3, corresponding to the interval of a fourth.
Interval of the octave 2:1 is found in the division of the air space by the position of the sound-post. Made (for an experiment), violins without ribs, length and transverse elliptical, the object being to determine whether or not the shape and arching were better in elliptical form than in circle form. Tone exceeded his expectations, but was finally satisfied that the circle-shaping was more favourable than the elliptic, parabola or hyperbola. Author of Stradivarius Secret (Berlin, 1901) - a text book on violin making, containing full details of his discoveries, theories and innovations.
SCHULZE, JOACHIM
Born at Ziepel, 1861. Originally an oboe-player. Became fascinated with violins practised the art of wood carving, applied it to his scientific knowledge of violinstructure, and produced first instrument, 1887. Worked at Flensburg, 1893-1926. Claimed that his innovation regarding the tuning of the plates, and his specially prepared varnish, gave a tone resembling the Italian.
SCHUMACHER, ANTON
True son of the Roman Catholic Chtwch - played the organ at Laufen (Switzerland) for many years. Self-taught in violin construction, took up the matter solely as a hobby, first instrument quite successful, decided on becoming a professional maker, 1899. Died 1916.
Acoustically tuned top and bottom plates, and calculated what volume of air should be in the body so as to correspond with the tuning. Used pine from the Swiss Alps, and maple from Bohemia. Varnished some of his violins according to the principles of Christ-Iselin at Basel, a process founded on the assumption that the Cremonese used clear tempera as a ground. Instruments named Schumacher-Christ-Geigen, and advertised at 5 each. Style, workmanship, and tone quite ordinary.
------------------------------------
Anton Schumacher in Laufen
Wilhelm Christ in Basel
gebaut anno 1913
------------------------------------
A/S
W/C
branded on the back inside. Some instruments bear the letters
B.M.V. - conjectured to be a dedication to the Benign Mother.
SCHUNDA, JOSEF
Born at Sibrin (Bohemia), 1818. Went to Budapest to work for Ngy, 1842. Founded the subsequently renowned factory for the making of stringed and Hungarian national instruments, 1847. Died 1871. Violins generally of Stradivarian design, though often of slightly larger proportions and wholly of robust character. Backs generally one-piece of strikingly flamed material. Amber varnish prettily shaded. Tonal quality strong and powerful. 65, 1960.
--------------------------------
Josef Schunda
Instrumentenmacher Pest
fecit ad formam Strad
--------------------------------
Some instruments anti-dated a hundred years.
SCHUNDA, JOSEF WENZEL
Born in Bohemia, 1845. Pupil of brother Josef, and ultimately joined him in the management of the firm, becoming the head of it after death of Josef in 1871. Brought all his commercial acumen and inventive talents to a wide expansion, engaged a large staff of skilled workmen, secured the patronage of Royalty and all the Hungarian Opera Houses and Conservatoriums, was himself a member of the Imperial Opera House at Budapest for 40 years, and glowingly patriotic through and through. Died 1923.
Superintended the production of high-class stringed instruments, invented pedal cymbals, reconstructed the Trogat (Hungarian national instrument), and innovated metal instruments of every kind.
SCHNEMANN, OTTO
Born 1837. Studied the violin with Carl Schulz at Rostock. Became a professional violinist. Met a Dr. Wirsing at Prague, and was inveigled by that enthusiast, into the fascination of violin research. Went to Hamburg, spent every free minute from his professional engagements in perfecting the constructive art, and after nine years assiduous perseverance made himself known as a violin-maker. Had several years of prosperity with his tone-endowed violins at Hamburg. Won the patronage of the Grand Duke of Mecklenburg, and negotiations were carried out to establish a Violin-making School at Schwerin, 1887. Returned to Hamburg, 1898, continued the art until death, 1914. Concerto performances on his violins by such renowned soloists as Brodsky, Halir, Heermann and Sarasate, greatly enhanced his reputation. Model often of small proportions, arching very flat, bold scroll, plum or brown shades of varnish. Workmanship delightfully neat. Beautifully selected woods. Tonal quality sometimes shrill, never strong, but occasionally of brilliant clearness.
-----------------------
Otto Schnemann
Hamburg, 1880
-----------------------
---------------------------------------
Deutsche Geigenmacher-Schule
Otto Schnemann
Schwerin i M. 1892
---------------------------------------
(bearing picture of himself)
70 to 95, 1960.
SCHUNZEL, ARNO
Born 1895. Studied at Mittenwald. Established at Wiesbaden, 1926. Good modelling and varnish.
SCHURICHT, ALFRED
Born 1891. Studied at Schneck. Established at Chemnitz (Saxony), 1940. Assisted by daughter Johanna. Good workmanship.
SCHURRER, PAUL OTTO
Born 1880. Professor of Music at Markneukirchen. Delved into acoustical properties of various woods, and constructed violins on his theories.
SCHUSK, RUDOLF
Worked at Markneukirchen, 1890-1920. Violins stamped with small design representing a violin, and initials R.S.
SCHUSTER, ADOLPH CURT
Born 1890. Worked at Markneukirchen, 1920. Died 1947. Finely constructed bows of excellent strength and balance. Specially well seasoned sticks. Silver and gold mountings. Tubbs, Voirin, and Tourte successfully imitafed. 12 to 20, 1960.
SCHUSTER, CARL FRIEDRICH
Son of Johann Christian. Worked at Markneukirchen, 1812-1864. Violins designed with felicity, and workmanship rather neat. Made of material well adapted to issue responsive tonal quality.
SCHUSTER, CARL GOTTLOB
Worked at Markneukirchen, 1730-1760. Fairly broad modelling of Stradivarian outline. Medium arching effectively graduated. Golden brown varnish of nice transparency. Tonal quality moderately strong and nicely mellow
------------------------------------------
Carl Gottlob Schuster
Violinmacher in Neukirchen, 1741
------------------------------------------
SCHUSTER, CARL GOTTLOB (Jnr.)
Established at Markneukirchen since 1824. Stringed instruments of every kind. Controlled 1895-1927, by Raimund and Ulrich Schuster, both fully equipped in violin construction in having previously worked for several important firms in Germany. Built exemplary violins and cellos on their invention of a resonance-plate, legitimately physicalised.
----------------------------------------------
Gebaut nach physikalischen Gesetzen
mit abgestimmten Resonanzplatten
von Carl Gottlob Schuster Junr.
Markneukirchen, im Jahre. . . .
----------------------------------------------
Issued a pamphlet on Violin-building. According to his view, the application of the molecular theory to woods used, their treatment by means of oils, rubber solutions, etc., are, as far as effects are concerned, much as if one should attempt to seek the essential character of an artistic picture merely in the drawing, colour or mode of execution, rather than in the wonderful union accomplished between the materials and the living law within them. Getting the instrument played in too, is frankly, but a delusion due to suggestion, which many artists succumb to, it is true. We have known fiddlers, passably good pedagogues, of whom this delusion has taken possession to such a degree that it is utterly impossible for them to be freed from it, and it remains with them right through old age. Goethes saying - If ye do not feel it, ye neer by thought shall track it down is confirmed to the full once more in this domain. The Cremonese are deserving of the fullest recognition, because they shrank from no trial in the pursuit of the aim they had set themselves, and Stradivarius quietly carried on his laborious experiments for twenty long years before attaining success so brilliantly in 1701. Real violinbuilding being a great art, it is of absolute importance to realise clearly once and for all that to hope to come upon the secret by way of anything left behind in writing is nonsense, since art can only be attained through a complete penetration, by feeling, into the matter under consideration, through continued constructive thought, through clear scientific and practical work as well as uninterrupted scrutiny and testing of the results obtained. It will not prove difficult for a skilful man, after adequate apprenticeship, to build a good fairly well-sounding violin. The faithful imitation of old models, however, does not mean that fulfilment of all those fundamental considerations which go to guarantee the tonal capacity of an instrument. The tone will always have a more or less new and wooden ring, or at any rate, not such that we could venture to take it on to the concert platform. First grade violins must from the very outset be possessed of their permanent tonal character, so that they may, without the necessity of being played in or undergoing useless treatments, be used almost immediately.
SCHUSTER, EDOUARD
Born at Schnbach, 1881. Established at Brussels, 1910. Worked at Hirsingue (Alsace), 1944. Splendid Guarnerian modelling, also one of his own. Reddish oil varnish.
-----------------------------------------
Edouard Schuster, Luthier
Fabricaht & Reparateur
E.S.B. Galerie du Commerce, 35.
Anne 19. . Bruxelles. No. . .
-----------------------------------------
-------------------------------------
Edouard Schuster, Luthier
E.S.B. Place de la Reine, 23
Anne 19. . Bruxelles. No. . .
-------------------------------------
Instruments after 1925 are branded Ed: Schuster, also signature in ink.
SCHUSTER, EMMANUEL
Esteemed bow-maker at Egerten (Bohemia), 1900. 10, 1960.
SCHUSTER, FRIEDRICH W.
Worked gt Berlin. Went to U.S.A. Established at Stssen (Germany), 1888. Died 1910. Made many investigations in ancient varnishes, but failed to achieve more than ordinary tonal quality from his ordinary modelled violins.
SCHUSTER, GEBRDER
Factory at Markneukirchen, 1900. Good class trade violins.
SCHUSTER, GEORG
Born at Markneukirchen, 1685. Earliest of family. Master in the Guild of Violinmakers, 1748. Died 1759.
SCHUSTER, HEINRICH MORITZ
Opened premises at Markneukirchen, 1871. Worked there until 1930. Announced in 1909 (after multifarious experiments) that he had evolved a process of making violin wood of fuller sound, thus preventing the rough and woody tonal quality of new instruments. Was convinced that the old violin makers used a similar process. At any rate, the violins he made with this treatment, were acknowledged by several connoisseurs and tone specialists to be particularly well sounding, and had the germ of purity. Designed these productions as M. S. Violinen.
SCHUSTER, HERMANN
Born at Markneukirchen, 1830. Established at Warsaw. Adopted the name Szuster (Polish for Schuster). Died 1892. Violins of Saxonian type with no distinctive qualities except ordinary good modelling and workmanship.
SCHUSTER, JOHANN
Worked at Vienna, 1710-1758. Instruments emanating from Saxony in which he inserted his label.
SCHUSTER, JOHANN CHRISTIAN
Born at Markneukirchen, 1753. Worked at Prague from 1773. Died 1820. Substantial looking violins of medium arching. Unquestionably deserving a higher recognition than that usually assigned to them. Details of scroll and sound-holes rather minutely attended. Belly wood of even and medium vein. Generally one-piece backs of slightly flamed material. Golden-brown varnish very warm looking. Tonal quality agreeably responsive and mellow. 75, 1960.
-----------------------------------------
Johann Chr. Schuster
Violinmacher in Neukirchen,1772
-----------------------------------------
------------------------------------
Joh. Christ Schuster
Violinmacher aus Prag. 1793
------------------------------------
SCHUSTER, JOSEPH
Worked at Schnbach, 1766-1790. Modelling rather large proportioned and not particularly attractive. Workmanship not uniformly well finished. Scroll presented with little dignity of pose. Sound-holes display few artistic properties. Nut-brown varnish, occasionally one of yellow shade. Edges sometimes disfigured by very thin strips of bone. Adopted the trade device of Cremona labelling. 45, 1960.
-------------------------------------------
Joseph Schuster, Geigen und
Instrumentenmacher in Schnbach
1790.
-------------------------------------------
SCHUSTER, JOSEF
Born 1851. Pupil of Em. Hoyer. Worked in various establishments in Germany, and finally at Schnbach, 1877-1916.
SCHUSTER, JOSEPH ANTON
Worked at Schnbach, 1775-1785. Modelling not of particularly fine conception though there is a touch of individuality. Scroll and sound-holes not impressive. Well wooded, but with material not always of the choicest. Brownish tint of varnish treated to careful management. Tonal quality unusually full for instruments of the same period and place. 60, 1960.
---------------------------------------
Joseph Anton Schuster, Geigen
macher in Schnbach, 1778.
---------------------------------------
(decorative border)
SCHUSTER, JOSEPH IGNAZ
Born 1865. Established at Fleissen (Bohemia), 1882, and at Kirchberg, 1914. Recipient of at least a dozen medals. Probably the finest bow-maker that Bohemia has produced. Bows of strong resistance, but full of balance and elasticity. Sometimes stamped J. I. Schuster. 20, 1960.
SCHUSTER, JOSEF JOHANN
Bow-maker at Fleissen, 1920. Won silver medal at the Teplitz Exhibition. Good bows, full of elasticity. 15 to 20, 1960.
SCHUSTER, KURT
Born at Markneukirchen, 1878. Pupil of Glessel, also of Fiorini (Munich). Established at Leipzig, 1908. Conscientious workman - very good golden yellow oil varnish.
SCHUSTER, KURT MAX
Born 1886. Pupil of Pfretzschner. Established at Markneukirchen, 1918. Fine bows suitable for soloists. 15, 1960.
SCHUSTER, MAX
Born 1881. Worked at Breslau, Wurzburg, and Berlin. Established at Markneukirchen, 1915. First-class copies of old standard models.
SCHUSTER, MATTHIAS
Worked at Markneukirchen, 1805-1835.
SCHUSTER, MICHAEL
Worked at Markneukirchen, 1815-1822. Modelling generally approximating to the Hopf. Broad and fairly flat. Occasionally more Guarnerian with long and slender sound-holes. Belly wood of narrow fibre, and one-piece backs of small figured maple. Light golden-brown varnish, sometimes a brown of darker tint and less transparent. Tonal quality fairly powerful but without sympathy. 50, 1960.
SCHUSTER, MICHAEL (Jnr.)
Established a factory at Markneukirchen, 1803. Added machinery driven by water power, 1862, and produced hundreds of cheap grade violins, etc. Later introduced machinery driven by steam which accelerated the output. Instruments and bows of every desired model made for European and American markets, 1890. Also violins in the white, scrolls, necks, etc.
SCHUSTER, RUDOLPH
Pupil of Ptzl. Worked at Lemberg, Hamburg, Stuttgart and Berlin. Went to Vienna to assist Dr. Thomastik. Established at Graz, 1930.
SCHUTZE, J.
Resident at Berlin, 1900-1914. Patented several fanciful designs of violins and violas. Two preserved at the local Museum.
--------------------------------------
Julius Schtze, Berlin
Strassberger Str. 42-18-8-1912
ges. geschtzl No.
--------------------------------------
SCHWAB, ERNST
Bow-maker at Hhendorf (Saxony), 1910. 10 (1960).
SCHWATCHER, LEOPOLD
Worked at Floridsdorf, near Vienna, 1765-1815. Similar style to that of a Dalinger or Geissenhof. Sometimes the lower bouts seem not wide enough. Sound-holes dangerously near the margins. Belly-wood not generally good, backs of ordinary flame. Pretty varnish of reddish-brown shade. Tonal quality riot valued higher than 15, 1930. 50, 1960.
-----------------------------------------
Leopold Schwaicher
Lauten und Geigenmacher
in Floridsdorf nchst Wien, 1810
------------------------------------------
(German letter; decorative border, and sometimes written)
SCHWALM, ALEXANDER AUGUSTOVITCH
Worked at St. Petersburg, 1885-1914. Pupil of Geisser. Maker to the Imperial Opera and Conservatorium. Stradivarian outline and arching of the 1718 peliod. Workmanship not altogether praiseworthy, though the slight lapses from neatness are harmless enough. Scrolls generally too small, with compressed boss, and flattish front, German traits. Wood not consistently happy in acoustical properties or pretty flame. Oil varnish of own preparation. Built finer cellos, generally of very telling tone, modelled after a beautiful Stradivarius played on by Prince Nicolas.
SCHWARTZ, ANTON
Worked at Breslau (Silesia), 1750-1760. Very vigorously designed outline, broad, and rather reminiscent of Stainer. Arching developed very high, but successful in its definition of gradation. Generally one-piece backs of rather plain material. Red-brown and yellow-brown shades of varnish. Tonal quality nicely full and of considerable sweetness. Workmanship not superfine. 30, 1925. 65, 1960.
--------------------------------------------
Antonj Schwartz, Lauten
und Geigenmacher in Breslau, 1758
--------------------------------------------
(sometimes 3-lined)
SCHWARTZ, BERNHARD
Born at Knigsberg (Prussia), 1744. Worked at Strassburg from 1780. Died 1822. Modelling not of happy pattern, but by no means poor. French influences distinguishable through its main features which, with every subordinate point, fall into a fairly pretty contour. Scroll has appropriate dignity. Long sound-holes rather graceful. Two-piece backs of a sharply marked small figure. Reddish-brown varnish of really excellent texture. Responsive tonal quality though not imbued with especial sweetness. 40, 1928. 70, 1960.
Cellos, certainly of captivating tone and satisfying in design and workmanship.
-------------------------
Bernhard Schwartz
fecit Strasburg 1796
-------------------------
SCHWARTZ, FRANK
Resident at Boston (U.S.A.), 1925. Student at the Bretch School of Violin-making, 1917.
SCHWARTZ, FRRES
Sons and successors of Bernhard. Georges Frdric - born 1785, died 1849. Thophile Guillaume - born 1787, died 1861. Pupils of their father, and worked in partnership at Strassburg. First instrument produced in 1824. Subsequent productivity amounted to 80 violins and 30 cellos. In the modelling an individuality is observable, though there is also pronounced transcription of Thibout influences. Intricacies of the scroll (rather small), accuracy of purfling, and graceful slanting of the sound-holes have a forcible highness of deft touch. Chestnut-red varnish, brilliant and warm-looking. Generally substantially wooded. Tonal quality nicely full and round, but not absolutely coinciding with ideal sweetness - the peculiar dolce only attainable by the passage of many years. Violins catalogued at 30, 1928. 60, 1960.
-----------------------
Frres Schwartz
Strasbourg 1833
No. 15
-----------------------
(oval, with designs of a violin and lyre)
Thophile was chiefly concerned in the instrument making whilst Georges devoted most of his talent to the production of artist bows, and achieved notable success. Heads charmingly characterised by neatness and strength. Branded Schwartz Strasbourg. 10, 1960.
SCHWARTZ, GIOVANNI
Born at Padua, 1865. Apprenticed to Degani, worked with Praga at Genoa, and Scarampella at Florence. Finally settled at Venice, 1890-1916. Brought his whole intelligence and skill to his productivity right from the outset of career, in order to acquire a reputation which would authorise the expectation of being placed among future immortals. Actuated by these motives he had no fear of being outstripped by contemporaries, never relaxed his efforts to reach the goal he had planned, and ultimately enjoyed all the emoluments attached to success. His desire for distinction never took the wrong direction by vague searching for innovations and strangeness, but kept to the straight road by tracing and developing the principles already proven the best, and thus extended that pathway by sure and legitimate methods. Outline of consummate curvature - upper, middle, and lower bouts delightfully harmonised, though he occasionally tried others less perfect. Scrolls stamped with imperial authority; sound-holes bear that indefinable quality called character. Edging rather prominent but not too obtrusive. Purfling as near perfection as possible; belly wood of Italian pine, generally one-piece backs with flame slanting downwards to the right. Touch of true genius everywhere evident in the painstaking care bestowed on the workmanship. To the eye of connoisseurs this strikes immediately and leaves the impression that a Schwarz violin is something worthy of acquisition. Charming chestnut-reddish shade of exceptional quality oil varnish, the result of many years experimenting. It has not the brilliant polish appearance usually associated with new instruments, on the contrary, the surface is inclined to a dull aspect, but it must be explained that this subdued brightness is characteristic of the soft oil varnish made by Italian makers, thus giving the elasticity and flexibility of tone which will the quicker mature with age. The pores of the wood become permeated with this quick-drying varnish, which forms an everlasting jacket (as it were) to protect the underpart from the climatic influences and usage of time to come. Tonal quality of Italian character, strong, elastic, responsive, even, and has all the elements of a future soft purity to satisfy the emotional feeling of artist players. 45, 1934.
--------------------------------------------
Giovanni Schwarz
Nipote ed Alievo di E. Degani
piu volte premiato fabbricatore
e riparatore di Instrumenti ad Arco
Venezia - S. Felice, 3816 - Venezia
--------------------------------------------
(decorative border)
Last line written. G.S. worked in on the lower ribs, one letter on each side of the tailpiece button. 90, 1960.
SCHWARZ, HEINRICH
Violins supposed to emanate from Leipzig, 1890-1900. Indubitably of Markneukirchen production. Innovated finger-board, pretty wood, glossy varnish, tonal quality of the usual trade instrument.
SCHWARZ, JOHANN AUGUST
Bow-maker at Rohrbach (Saxony), 1883-1903. 6-8, 1960.
SCHWARZ, JOSEF
Worked at Vienna, 1900-1935. High arched violins not especially attractive. Yellow-brown varnish.
-----------------------------------------------
Josef Schwarz
Musik-Instrurnentenmacher
Wien. IX. Liechtensteinstrasse No. 24
-----------------------------------------------
(very thick and black border)
SCHWARZ, LORENZ
Amateur at Obersontheim (Wrttemberg), 1870.
SCHWARZ, RICHARD
Bow-maker at Fleissen, 1908-1925. Fine pernambuco sticks - balanced to enable the performer to control the faintest pianissimo, and to command the strongest fortissimo. 15, 1960.
SCHWARTZMANN, ANTON
Worked at Mittenwald, 1750. Little known work.
---------------------------------------
Anton Schwartzmann
musikant und Geigenmacher in
Mittenwald in Tirol 17. .
---------------------------------------
SCHWEHRER
see SCHWERER.
SCHWEIGER, JOSEPH
Worked at Stadtamhof (Bavaria), 1798-1820. Cabinet maker. Made violins, harps and guitars, also built organs.
------------------------------------------
Joseph Schweiger
Instrumentenmacher in
Stadtamhof bey Regensburg 18. .
------------------------------------------
SCHWEIGL, FRANZ XAVER
Born 1794. Worked at Vienna. Died 1834. Pupil of Martin Stoss. Stradivarian modelling, nicely comporting with the manner of that school. Scrolls, however, not precisely similar to the majestic prototypes. Fine narrow grain belly wood, plain ribs, and backs of medium flame. Dark red oil varnish apparently applied to give a worn appearance. Very good tonal quality - G and D quite mellow, A and E moderately brilliant. Produced very genteel lutes with subdued decorations. Built fine-toned cellos of splendid outline and arching, practically flawless workmanship, and richly varnished. After his death certain dealers obtained his left-over labels and placed them in many indifferent varieties of violins, consequently his name has undeservedly lost much of its prestige. 70, 1960.
--------------------------------
Franciscus Xav: Schweigl
fecit Viennae Anno 1820
--------------------------------
SCHWEITZER, JOHANN BAPTIST
Born at Vienna 1790. Pupil of Geissenhof. Settled at Budapest, 1825. Died 1865. Materially advanced the standard of Austrian work. A high prerogative was his, and thoroughly exercised in a right and elevated spirit. Copied most of the Cremonese makers, seemingly having a preference for the Amatese model, and also rather closely approached the style of his teacher. Hieronymus Amati modelling, conceived in rather large proportions. Workmanship commensurate with the importance of the subject, force and freedom in certain lines, and without neglect in giving considerable delicacy to all the portions requiring it. Slab back, fine vein belly wood, altogether of pretty appearance, back, sides, and front. Reddish orange-brown varnish with contrasting effects. Tonal quality has fair strength wedded to reasonable sweetness. Nicola Amati modelling accords with the beautiful, everything fashioned and moulded accurately. Handsome wood luxuriating under golden-yellow or light toast brown shades of varnish. Several specimens splendidly modelled after the Stradivarins, and its well-known characteristics well-nigh inimitably portrayed. Scroll carefully managed to fit in with the whole picture. Sound-holes as gracefully slanting as the prototype. Bellywood of fine acoustical properties, and one-piece backs showing large flame. Light golden brown varnish. Tonal quality pleasing in its penetrative force as well as in mellowness, of a timbre that should go far to redeem these instruments from occasional reproaches cast upon them by certain connoisseurs. 40 (1927). Equally comparable in art-work are the Maggini models. Golden brown varnish, and viola-like tone. Also built violins with scarcely any arching, but here his success is somewhat dimmed. Fine contour and neat workmanship of every detail congregated upon and within his violas. Cellos have a winning style which is steadily gaining on some of the older Italians. Some considerably reminiscent of a Santo Serafino. Built himself a Villa near Schwabenberge where he had a laboratory fitted up for various experiments in varnishes. Much of his varnish has not lost its original freshness, except under the finger-board and tailpiece. 80, 1960.
----------------------------
Joh. Bapt. Schweitzer
in
Pesth
----------------------------
(wording within an oval)
-------------------------------------
Joh. Bapt. Schweitzer
fecit ad forman
Hieronym Amati Pestini, 1814
-------------------------------------
Now attached to many inferior productions. Trade name used extensively by factory merchants in Saxony and the Tyrol. Commonplace imitations of his style, priced at 3 to 5 and of shaded red-brown varnish.
SCHWEITZER, PETER
Worked at Buffalo City (U.S.A.), 1908-1920.
SCHWENK, V. L.
Born on a farm near Garwin (Iowa), 1879. Occupied a barn (then in process of construction) in 13th year, and whittled out a crude violin from the waste material scattered about. Made his first actual fiddle a year afterwards in the same barn, and sold it for five dollars. Also learned to play Yankee Doodle whilst lying on his back in bed owing to a permanent injury to left leg. Ultimately vacated his rustic shelter, and, his mind and heart being full of fiddles, he set about reaching Chicago, where he subsequently expanded into a professional maker. Brought out his Artist Violins, 1920, after eleven years of experimenting. Outline somewhat Stradivarian, arching according to texture of wood. Claimed that these instruments mark a new era in tone production, and he, having full understanding of the natural physical laws, has incorporated them in creating a more desirable acquisition than any old master specimen. Also guaranteed that the tone standard would retain its vigour indefinitely. Published a forty-page booklet titled Mysteries Exposed.
-----------------------------
Artists Violins
V. L. Schwenk. Maker
Chicago. Illinois
-----------------------------
SCHWERER, ANTON
Born 1855. Worked at Fntkirchen (Hungary). Died 1895. Pupil of Schunda at Budapest. Made a few splendid instruments. Fine yellow-brown varnish and strong tone. 25, 1930.
SCIAL, G.
Worked at Rome, 1800-1840. Famous for classically modelled guitars. Constructed (in his last years), a few splendid replicas of Gaetano Guadagnini. Flawless workmanship, generally two-piece backs of undulating flames, golden-yellow varnish with greenish reflections. 200, 1960.
--------------------------------
Giuseppe Scial Fece in Roma Anno 1832
--------------------------------
SCOTT, JOSEPH
Worked at Newmarket (Cambridge), 1865-1896.
SCROLLAVEZZA, RENATO
Born 1927. Self-taught. Produced 20 violins up to year 1951. Excellent modelling. Golden-red spirit varnish. 90, 1960.
-----------------------------------
Renato Scrollavezza
Noceto (Parma). Anno 1948
-----------------------------------
(with signature)
SCROSATI, GIOVANNI DOMENICO
Worked at the Sign of the Colossus, Milan, 1770-1780. Acceptable outline, nice arching, insignificant scroll, fairly correct sound-holes, hard brownish yellow varnish. 250, 1960.
-------------------------------
Gioni Domenico Scrosati
Fece in Milano al Segno
del Collosso, 1775
-------------------------------
SDERCI, LUCIANO
Born 1924. Son and pupilof N.I. Replicas of fathers violins.
---------------------------------
Luciano Sderci di Igino
fece in Firenze lanno 1949
sotto disciplina del padre
---------------------------------
SDERCI, NICOLO IGINO
Born 1884. Pupil of Bisiach. Established at Florence, 1930. Gained highest award at Cremona Exhibition, 1949. Superb workmanship and conception of classical models. Produced 400 violins and 20 violas (some of 43 cm. body length), up to year 1950. 80, 1960.
---------------------------
Igninius Sderci
a Florentia anno 1949
---------------------------
SEABURG, JOSEPH
Born on a farm near Albion (Indiana, U.S.A.), 1868. Early attracted to wood carving and mechanical appliances. Studied violin-making with Dr. S. W. Loomis at Toledo. Worked at Albion, 1927. Built (1902-1927) 25 excellent specimens, some realising 500 dollars each. Model partakes of Stradivarius and Guarnerius traits with some individuality of his own. Gradations splendidly done, workmanship generally denotes knowledge and care, particularly in the cutting of the sound-holes. Varnish (invariably reddish-yellow) indicates artistic application. Especially smooth tone, of considerable power, and has an easy vibration usually absent in many new violins.
-------------------
Joseph Seaburg
Albion. md.
-------------------
(with small design under the letter J)
SEALAND, LOUIS
Worked at Milwaukee (Wisconsin), 1908.
SEBOK, LAJOS
Born 1900. Pupil of Remnyi at Budapest. Worked at Oroshaza (Hungary), 1933. Good modelling and varnish.
SECCHI, ELISEO
Italian who worked at Paris, 1880-1900. Graceful small model, customary French workmanship - yellow-orange oil varnish. Also many guitars of various sizes.
-----------------------------------------
Secchi luthier
19 Bold. Beaumarchais 19.
Paris. anne 18. . No. 171 (E.S.)
-----------------------------------------
SEEBER, FRANZ
Professional violinist. Lived at Lwenstein (Germany), 1889. Made several prettily modelled instruments. Outline and arching something akin to that of a Stainer. Tone rather sweet than powerful. 50, 1960.
---------------------------
Franz Seeber
Geigenmacher
Lwenstein. Wrttbg.
---------------------------
SEELANDT, MARTIN
Worked at Lbeck (Germany), 1633-1656. Produced a few violas which deserve reception with unquestioning confidence. Good workmanship - tone equally so. Name sometimes given as Sehling.
SEELBACH, JACOB
Resident at Godesberg-on-Rhine, 1921. Patented an Improvement concerning tonal increase - bass bar and soundpost done away with and substituted by a tuning fork - ribs strengthened, vibratory rod introduced fingerboard so hollowed out as to constitute a soundbox, top plate considerably thinned, wood impregnated. Incomprehensible to eliminate the sound-post and rib strengthening cannot replace this, Italian tone cannot be obtained.
SEELEY, B. J.
Worked at Medina, New York, 1919-1926. Produced solo and orchestral violins of powerful-without-harshness tone. Priced from 75 to 150 dollars. Invented a special bridge treated maple which improved vibration and gave clearer and sweeter tone. Patentee of a dustless preparation for the bow, named Paganinis Tone Ameliorant.
SEELMANN, PAUL
Born at Dresden, 1853. Violinist in various orchestras in Russia, Germany, France and Switzerland. Gained violin-making experience with Bovis (Nice), and Fischesser (Geneva). Established at Lugano, 1895. Produced over 40 fine specimens.
-------------------
No. 15
Paul Seelmann
Geigenmacher
Lugano 1894
-------------------
SEELOS, GEORG. (1)
Worked at Innsbruck (Tyrol), 1647. Died 1672. Copied the style of Stainer with a fair measure of success. Produced a few serviceable violas.
--------------------
Georg Seelos in
Innspruck, 1662
--------------------
(gold lettering)
SEELOS, GEORG (2)
Worked at Innsbruck, 1670-1682. Son and pupil of preceding. Average examples of Tyrolese style and workmanship.
SEELOS, JOHANN
Born 1654. Died 1714. Son and pupil of Georg (1). Worked at Salzburg, and at Linz (Austria) from 1684. Modelling reminds somewhat of Stainer, but generally of smaller proportions and rather narrow in appearance. Medium full arching. Workmanship quite ordinary. Dark brown varpish from which the eye turns away with disappointment. Mellowness of tone (usually imparted by the passage of time) here lamentably lacking. Lutes have considerably more refinement.
-------------------
Joannes Seelos
in Linz, 1687
-------------------
SEEMANN, HEINRICH HERMANN
Bow-maker. Worked at Zwota (Saxony), 1908.
SEGERSTRM, JULIUS
Born 1891. Resident at Insjn (Sweden). Won silver medal at Stockholm, 1938; and diploma of honour at The Hague, 1949. Captivating models, excellent workmanship, fine scrolls, reddish brown or reddish yellow varnish.
--------------------------
J. Segerstrm Insjn
Ar 19. . J.S.
-------------------------
SEGHER, GIROLAMO
Born 1646. Pupil of Amati. Worked 1670-1690.
SEGUIN, LEONARD
Worked at Paris, 1740-1755. Good modelling, similar to that of Champion. Deeply set purfling, golden shade of varnish.
SEIDEL, ADOLF
Born 1868. Worked at Hanover and Markneukirchen. Died 1946. Cosmopolitan modelling, all details excellently managed. Satisfactory tone although quite ordinary. Branded K.F.W.B. Ad. Seidel.
SEIDEL, CHRISTIAN FRIEDRICH
Born 1817. Worked at Klingenthal (Saxony), 1840-1853. Flattish modelling not deserving of much praise. Scrolls fully establish Saxonian ideas, but showing little of dignity, probably not made by him. Sound-holes perhaps not quite so reprehensible in the matter of gracefulness, Backs generally of one piece, also frequently the belly.
-------------------------------
Christian Friedrich Seidel
in Klingenthal, 1840
-------------------------------
(written)
SEIDEL, CHRISTIAN WILHELM
Born 1815. Worked at Markneukirchen, up to 1898. Variable modelling, mostly broadly proportioned with medium arching, others broad and flatter, some reduced more to the Bavarian Amati style, and a few of the high arched Stainer. Fair skill in the manner of delineating the above models, and appropriately accompanied by decent workmanship. Scrolls often quite pretty. Sound-holes variable, but generally well conceived and well positioned according to each particular model. No inconsiderable amount of judgement shown in the selection of wood, tops frequently broad grained and strong, generally one-piece backs of small figure material. Built several violins from a peculiarly fibred piece of pine, unusually figured by three dark and narrow veins alternating with two lighter and wider. Mostly yellow varnish of golden shade not especially transparent, others have a richer red-brown. Tonal quality never particularly attractive, but is sufficiently strong to satisfy some orchestral players. 20, 1920. Violas also of similar characteristics. Originator of the so-called Seidel-Violin. Branded *Seidel* at the top of back under button, also inside - italic lettering with a fanciful d. No label.
SEIDEL, E.
Worked at Striesen (near Dresden), 1908. Little known.
SEIDEL, EHRHARD
Established at Oldenburg (Germany), 1850-1893. Instruments not adorned by liberality of conception or skill.
SEIDEL, JOHANN GEORG (1)
Born at Markneukilchen, 1760. Died 1813. Customary Saxonian Style. Name branded.
SEIDEL, JOHANN GEORG (2)
Born 1852. Worked at Markneukirchen. Died 1904. Stradivarian modelling of average workmanship.
SEIDEL, JOHANN GOTTLOB
Born 1788. Died 1868. Worked at Markneukirchen. Early productions typically commonplace Saxonian style. Later expanded his someWhat limited abilities to copying the Cremonese models. Seldom labelled.
SEIDEL, JOHANN MICHAEL (1)
Name also given as Seydel. Born 1702. Died 1754. Master in the Violin-makers Cuild at Markneukirchen, 1723. Violins designed in accordance with the prevailing style of the period. Details of workmanship rather superior to that of contemporaries. Warm-looking yellow varnish. Well wooded, material not subjected to any chemicalising.
SEIDEL, JOHANN MICHAEL (2)
Born 1731. Died 1810. Youngest son and pupil of the preceding. Master in the Markneukirchen Guild from 1753. Succeeded his father and worked wholly in his style. Modelling generally rather flat. Yellow wtth brownish tint varnish. Branded Seidel.
SEIDEL, LOUIS
Worked at Klingenthal, 1908. Various grades of stringed instruments for the trade.
SEIDEL, MAX OTTO
Born 1896. Worked at Malkneukirchen, 1917. Reasonable workmanship of Saxonian style.
SEIDEL, ROBERT
Born at Markneukirchen, 1859. Died 1937. Regarded as one of the best makers in that town.
SEIDEL, WILLY
Born 1893. Son and pupil or R. Expert copyist of standard models.
SEIFERT, GEORG
Born at Gersfeld. Worked at Marburg (Germany), 1850-1886. Carefully executed modelling somewhat reminiscent of the Guarnerius. Neatly carved scroll but without distinction in dignified pose. Brown varnish of good texture. Also a few violas with double purfling. Catalogued at 10 (1900), 20 (1930).
-------------------------------------
Georgius Seifert Gersfeldensis
fecit Marpurg, anno 1872
-------------------------------------
SEIFERT, HEINRICH
Worked in the Humboldtstrasse, Leipzig, 1877. Stradivarian modelling. Good workmanship. Orange-red varnish.
SEIFERT, OTTO
Born at Markneukirchen, 1866. Pupil of Bruckner Worked for Heckel at Dresden; Bittner at Vienna, and Rieger at Munich. Established at Berlin, 1896. Resident at Lbben, 1927. Early instruments externally demonstrate the several attributes of Bavarian and Saxon styles. Built violins, etc. (since 1897) on the system devised by Dr. Grossman. Workmanship truly superfine.
------------------------------------------------
Gebaut nach Dr. Grossmans Theorie
mit im Quintverlhltniss Abgestimmten
Resonanz plattem von
Otto Seifert in Berlin, 1899
------------------------------------------------
SEIFERT, SIEGFRIED
Son and partner of Otto, 1927. True follower of his parent.
SEIFFERT, ALFRED
Professor at Charlottenburg (Berlin), 1922. Author of A Theory of the Violin on a Mechanical Basis (Siegel, Leipzig).
Studied vibrations of violin plates in various parts, magnified them two hundred times and photographed them, thus enabling an analysis to be made. The bass bar turns on an axis which lies approximately between the two upper sound-hole circles, on the so-called bridge. If the bar below the bridge moves downwards, then, above the bridge it springs upwards in the opposite direction. Ends of bass bar then act again on the sides, like a true double-bellows. The same opposite movement completes itself in the top plate of the breast part, left and right of the instrument, each two diametrically opposed halves of the sides have the same phase of vibration, i.e. they beat simultaneously up and down. Sides exhibit furthermore transient vibrations, which, in the case of the upper sides, take place three or five times as quickly as the vibrations of the strings in the fundamental tone. Seiffert also investigates vibrations sent out from the neck, which functions as a compact angle lever whose turning axis lies at the spot on the large block where the top plate commences. At one end of the lever the vibrating strings pull (at the other end where the bottom plate is attached) the elasticity of the bottom plate. Bottom plate furthermore set in vibration by impulses of the strings. Seiffert is of the opinion that these mechanical bases were known to the old Italian masters, and these theoretical views were employed by them to construct the perfected violin form. Certainly not impossible.
SEITZ, ANTON
Principal maker for the Neuner Firm at Mittenwald, 1840-1853. Flawless workmanship of Cremonese models.
SEITZ, BERNHARD
Worked at Mittenwald, 1750-1793. Modelling not particularly successful owing to inconsistency of curves. Medium arching, but a slight moat near the edge, and a rather abrupt rise previous to proceeding almost level to the centre, gives a bulgy appearance. Small scroll with boss projecting prominently - a very conspicuous exhibition of carving ineptitude. Slanting sound-holes with an ugly approach to inartistic width at notches. Good acoustical belly wood generally of fine grain. Brown varnish of dull shade, further ineffective by a want of skill in its applicability. Tonal quality nasal and of enfeebled sweetness.
---------------------------------
Bernhardus Seitz in Mitten
Waldt 1750
---------------------------------
SEITZ, FERDINAND
Worked at Mittenwald, 1841-1857. Brother of Anton, whose style he imitated.
SEITZ (SEIZ), FRANZ
Worked at Mittenwald, 1760-1768. Fairly flat modelling, sometimes Klotz-like and occasionally Stainerish, the former rather well developed but the latter have very deep sides, and in general appearance rather heavy looking. Golden-red varnish. Sometimes labelled, also branded Seidtz or Seitz on inner side of back.
SEITZ, FRANZ XAVER
Born 1761. Worked at Mittenwald until 1803. Specialised in violas built after Stainer principles.
-------------------------------
Fr. Seitz, Geigen Macher
in Mittenwalt an der Iser
1799
-------------------------------
(written)
SELTZ, HANS
Born 1899. Worked at Munich and Mittenwald, Established at Heidelberg, 1925. Good copies of the old instruments.
SEITZ, JOHANN (1)
Worked at Mittenwald, 1722. Ordinary Klotz style, yellow-brown varnish, written label.
SEITZ, JOHANN (2)
Worked at Mittenwald, 1774-1780. Son of Franz and similar work.
SEITZ, JOHANN GEORG
Born 1768. Son of Franz. Worked, at Mittenwald, 1790-1810. Klotz and Stainer modelling.
SEITZ (SEIZ), JOSEPH
Worked at Mittenwald, 1763-1790. Connoisseurs place him as the best of this name. Splendid exemplification of Klotz modelling. Workmanship vested with neatness, dark brown varnish. Mellow tone. Many labelled Klotz. Also violas of a chamber-music tonal quality. Cellos valued at 25, 1920. Assisted by son Martin.
SEITZ, MATHIAS IGNAZ
Son and pupil of Bernhard. Born 1758. Worked at Mittenwald for about five years. Died at an early age.
SEITZ (SEIZ), MICHAEL
Worked at Mittenwald, 1840-1850. Generous aptitude shown in modelling and workmanship. Much of his work not identified as he worked largely for traders. Red varnish of rather poor texture.
-------------------------
Michael Seitz
Geigenmacher
in Mittenwald, 1845
-------------------------
Name inscribed with lead pencil on the inner side of table.
SEITZ, NICOLAS
Worked at Mittenwald, 1790-1800. Violins practically doomed to penance in exile by most players. Typical Tyrolese modelling and brown varnish. Wood too thin, also obviously chemicalised. Tonal quality equally as thin. The above deficiencies not so pronounced in violas and cellos.
----------------------
Nikolaus Seitz in
Mitten Walt 1799
----------------------
(written)
SELISSEN, NICOLAAS
Born 1772. Worked at Groningen (Holland). Died 1826.
SELLAS, MATTEO
Worked at Venice, 1625-1645. Shop sign - Alla Corona. Many fine theorbos, archilutes, guitars, pandoras, and chitarrones preserved in Continental Museums.
----------------------------
Matteo Sellas
alla Corona in Venezia
----------------------------
SELLBERG, LOUIS E.
Born in Sweden. Resident at Duluth (Minn.). Stradivarian and Guarnerius designs, almost unblemished workmanship, own formula oil varnish - yellow-brown to reddish brown.
------------------------
Made by
L. E. Sellberg
Duluth, Minn. 1925
-------------------------
(written)
------------------
L. E. Sellberg
Maker
Duluth. Minn.
1927
------------------
(printed)
SELLE, LOUIS
Worked at Mhlhausen, 1861; and Erfurt (Saxony), 1865. Attractive design, brown varnish well applied. Also cellos which invite approbation from top to bottom.
SELVA, G.
Born 1894. Worked at Bologna, 1925. Excellent violins, various mpdels, oil and spirit varnish.
SEMOLA, SIMONE
Worked at Brescia. Viols, and a few violins.
SENN, GUSTAVE
Born at Liestal (Switzerland), 1888. Pupil of Meinel, 1905. Established at Ble, 1929. Violins and cellos of various models, varnish of several hues. Instruments built for solo players, many having expressed laudatory opinions.
SENN, PAUL
Born 1919. Son and pupil of G. Strad and Guarnerian modelling, generally one-piece backs, varnish of own formula, several rich shades.
SENNEWALD, CARL
Born at Aachen (Germany), 1888. Electro technician who had impulses to build violins. Self-studied for a year or so, then went to the Violin-Making School at Markneukirchen. Made first instruments at Munich. Achieved harmonious tuning of top and bottom plates. Excellent imitations of the Stradivarius and Guarnerius. Nice application of old golden-yellow reddish or old-brown varnish. Worked at Rudolstadt, 1907; Berlin, 1911; and Cologne, 1925. Violins of considerable value, having that penetrative clarity which reaches the farthest corner of a large auditorium. Each designated with a feminine christian name. Written label, monogram branded inside. 80 (1960).
SENOB, GUSTAF
Amateur at Marquette (Michigan), 1925.
SENTA, FABRI
Worked at Turin, 1650-1675. A red varnished cello (once owned by the Medici family) preserved at the Conservatorio, Florence.
-------------------------
Fabricius Senta fecit
Taurini anno 1667
-------------------------
SENTA, FELICIO
Worked at Turin and Florence, 1690-1720. Lutes and violins. Viola da braccio in Copenhagen Museum - slight arching, high edges, sound-holes in form of a leech - good varnish.
----------------------
Felicio Senta fecit
Firenze, 1716
----------------------
SERACINI, DOMENICO
Worked at Florence, 1650. Lutes and violins.
SERANGELI
Born at Rome. Worked at the Maison Bouillon, rue Jean-Jacques-Rousseau, Paris, 1773.
SERAPHIN, GEORGIO
Worked at Venice, 1740-1750. Nephew of Santo. Outline shows intuitive perception of pure curving. Full talent also operates beneficially on the finely graduated arching. Edge and corners splendidly finished. Gracefulness and neatness flow generously all over the scroll. Sound-holes distinguished by accuracy of form as well as of position. Often gorgeously marked wood, its flame being enhanced by rich varnish. Tone often quite small though clear, notwithstanding the excellencies enumerated. 600, 1960.
-----------------------------------------
Georgius Seraphin, Sancti Nepos
fecit Venetiis, 1741
-----------------------------------------
(large copperplate)
Also branded at tailpin.
SERAPHIN, SANTO
Born at Udine (ancient name - Vedinum), sixty miles from Venice, 1665; possibly of Jewish parentage. Youthful enthusiasm set his attention on Cremona, and thither he went to work under the critical guidance of Nicol Amati. Returned to native place and worked there until about 1692, then proceeded to Venice where his productivity was zealously carried on to his 83rd year, 1748. Versatility of modelling a remarkably characteristic feature. Little bits of the Amati, and the Stainer, and even Maggini combined in an original manner. Whole contour has a personality entitling the instruments to take rank as classics - general appearance may not inaptly be called heroic. Outline, quite Amatese, impressively conducts the eye to real grandeur of curves. Also the same eye can revel in the delicacy of the margins, slightly narrower than those of the Stradivarius or Amati. Corners are just as harmonious and natural looking. Middle bouts have an unusually circular appearance, but nothing unduly exaggerated or any sacrifice of unity. Arching consistent with originality - the front somewhat Tyrolese in its medium rise, whilst the back contents itself with less. Take another look at the contour and notice the beautifully wrought ideas conceived to give a broad and masterly effect. Purfling also exquisitely accurate, examine it with a magnifying glass and its flawless neatness will stand the test. Scrolls have a touch of the Stainer, and generally of a vigour of conception and freedom of handling not often surpassed by any maker, further embellished by minute sculpturing giving grace to dignity. Notice a peculiarity which is to be found at the termination of the two grooves at the front of scroll opposite to the throat, and where, the two grooves merge into one large one, occupying the whole width of scroll just there. Also the first curve of scroll is rarely left high up, so that it over-shadows the boss like a long eyelash. Edges of the upper surfaces of the turns are very attractive. Sound-holes variable, some having the abandon and long swing of the Amati, beautifully in accordance with classicality, while others semi-adhere to the straighter Stainer type, but with absolute avoidance of stiffness. Belly wood always finely acoustical, and of perfectly straight grain whether narrow, medium or wide. Backs mostly of a small flame (almost like a rich piece of plush), very pletty, and seldom cut slab-wise, though there are a few examples with birds-eye maple. Several shades of varnish, mostly a golden-brown, sometimes an orange-red, and occasionally a darker red. Generally of brilliant appearance, often splendidly transparent and soft, but also at times rather hard and dry with its usual accompaniment of crackling. Nearly always plentifully applied, occasionally, just the reverse. Tonal quality resonant and very responsive, not of extraordinary brilliancy but of good carrying power, richly mellow, and in fact all the attributes that soloists are continually hankering after. This tone has the deep sonority of a Maggini combined with the more clarified bell-like Amatese. Early instruments show distinct Tyrolese influences, a few being rather excessively arched and looking a trifle squeezed across the middle bouts. Their tonal quality is mellow enough but has not the round clearness of the later dated. Best period, 1740-1747, the years of old age but of no declining power. Some instruments labelled and passed off as genuine Amatis. Emile Sauret used one for many years, and its remarkable sympathetic clarity was especially noticed by critics. Few violas seem to be known. Several fine toned and beautiful cellos are in the possession of renowned virtuosi. Also built double-basses which are pronounced wondrous even by the most fastidious critics. Violins sometimes catalogued at 500, and up to 5,000 dollars in the U.S.A.
---------------------------------------------------------
Sanctus Seraphinus Nicolai Amati
Cremonensis Allumnus faciebat Udine A: 1684
---------------------------------------------------------
-------------------------
Sanctus Seraphin
Utinentis Fecit
Venetiis Anno 1740
-------------------------
(gorgeously designed scrolling)
Sometimes two-lined, same wording, but differently (not less artistically) scrolled. Name branded at the tailpin - Santo on the upper part, and Seraphin on the lower. Name also sometimes written very legibly inside the instrument. 800 to 1,200, 1960.
SERAPHINE
Eccentric shaped violins of modern make.
SERASTI, DOMENICO
Worked at Naples, 1710-1750. Amatese characteristics aptly conceived. Golden-brown varnish of good quality, but thinly applied. 125, 1960.
SERDET, PAUL
Born at Mirecourt, 1858. Apprenticed to Gaillard; worked for Derazey; went to the Sylvestre establishment at Lyons, 1877-1894; and opened own workshop at Paris, 1894. Working there, 1930. Recipient of a gold medal at Paris Exhibition, 1900. Died 1934. Splendid modelling after the Stradivarius and Guarnerius, conceived and executed perfectly. Actuated by giving a full generous applying of very transparent oil varnish. Instruments highly appreciated in France. 90, 1960.
----------------------------------
Paul Serdet
Luthier Paris 19. . No. . .
----------------------------------
(with large monogram)
SETTIN, JOSEPH
Born at Crespano (Italy), 1893. Made first violin in 11th year. Studied sculpture at the Academy of Fine Arts, Milan. Established at New York, 1920. Own model of combined Strad and Guarnerian traits, built exactly on the lines of these famous types. Varnish of a mixture of spirits and oil. Method of application - When the filler has been applied, and absorbed by the wood, a coat of yellow varnish is put on, after being completely dried, a coat of reddish brown shade covers it. 125, 1960.
---------------------------
Joseph Settin Venetvs
fecit anno 19. .
No.
---------------------------
---------------------------------
Joseph Settin Venetus J*S.
fecit anno domini 19. .
---------------------------------
SETZER, AUGUSTIN
Born 1859. Pupil of Engleder. Worked at Budapest, 1887. Died 1896. Excellent models of Cremonese.
SEVIN
see DE SEVIN.
SEYD, ERNEST AUGUST
Born in London, 1866. Worked until 1920. Stradivarian modelling, also one of his own. Specimen dated 1894 realised 15 (London 1926).
-----------------------------------------
Ernest August Seyd, fecit
Londini Anno Domini MDCCXC
-----------------------------------------
SEYDELMANN, GABRIEL
Born at Augsburg (Bavaria), 1680. Worked at Rome. Died 1746. Modelled after Techler style. Very scarce instruments. 150, 1960.
SEYMOUR
Upper and lower outline curves quite Stradivarian. Waist curves represent the Guarnerian. Amateurish workmanship, but quite talented. Purfling inlaid with light coloured material. Brown varnish of the Bavarian type. Branded Seymour. On bass bar was written: this wood was taken from an old piano, l 770.
SEYMOUR
Resident at Warwick, 1880; and at Leamington, 1889. Whole contour decidedly mediocre. Tubby looking arching, short sound-holes indifferently cut, and deep red varnish. Seymour, 1881 branded on middle of inner side of back.
SEYMOUR, ABIJAH HAYES
Born in the State of Indiana, 1860. Had an inborn mania in early youth for wood carving, and, living in a particularly wooded district, found heaps of wood variety on which to exercise ingenuity. Purchased a cheap violin, learned to play, and finally succumbed to the temptation of making one. This was made with any tools that lay handy, also without ideas of graduations, etc., but set ambition aflame to properly study the art. Ultimately became a professional maker and settled at Lincoln (Nebraska). Of all the articles now being used, or ever used by man, there is perhaps, not a single one concerning which there are so many ideas and notions as there are about a violin - and very probably will always remain a mystery. Why is it so delicate and yet so strong? Why so simple in all its parts, but so complex in its possibilities? Why all made similarly, yet no two exactly the same in tone? One may have a pleasing and soulful tone, the other, irritating and raucous. One maker assumes he has solved a problem, and thinks he produces certain results by a certain process, another maker gets similar results by a different plan. One soloist has a theory as to the cause or reason for the most beautiful tonal quality, yet another player will have an entirely different theory concerning the same tone. Either may be right - both may be wrong, because neither can demonstrate his theory. The exact part produced by the varnish, the wood, model, arching, graduation, bass bar, sound-post, etc., are unsolved questions. The fact that the violin is mysterious does not detract from it, but is one of the chief causes of its attractiveness. Of all the things yet contrived by man for the expression of the beautiful in sounds, the violin occupies the throne as King, and will hold its dominion indefinitely. Seymour would have been unworthy of attempting the art of violin building if he had had no original ideas or theories. He did not claim to have solved the mysterious, nor discovered the arts (either lost or never obtained) of producing all that is good in the violin family, but he endeavoured (by using what skill, knowledge, and experience he was endowed with, and by careful and painstaking labour and judicious selection of material), to produce instruments that when given a fair chance and impartial test, would speak for themselves. Produced about 80 specimens up to the year 1930. These are not confined to one model, but the Guarnerius has been most favoured. Old and fixed ideas generally adhered to. The only slight variation being in the principle of graduation for producing evenness of tone - by so placing nodes as to (as far as possible), adapt thickness and length of sound-board vibration to weight of strings. Oil varnish of various shades - dark orange to dark brown, shaded in parts. Healthy tonal quality, free and strong, improving in sympathy daily. Also violas and cellos.
-------------------------------
No. 59 Made Anno 1926
A. H. Seymour
Lincoln. Neb.
-------------------------------
Early dated labels hand-written. Also produced many bows of pernambuco wood ranging in price from twenty to fifty dollars.
SGARABOTTO, CAVALIFRE GAETANO
Born at Vicenza (Italy), 1878. Studied wood carving and various sciences at the Academia Olimpica. The glorious art of Stradivari and Guarneri inspired him to emulate them. Acquired experience at Milan and Brescia. Established fine premises at Vicenza, 1902, and always resided there though his instruments are labelled as made at Milan. Also had a villa at San Felice. A man of culture and erudition in the arts and sciences. Knighted 1918. Honorary Member of the Royal Philharmonic Academy at Rome, and Minister of Instruction to Industrial and Commercial Institutions. Member of Exhibition juries, European and American. Particularly skilful in superb modelling of the Testore and Grancino styles. Also designed instruments having certain originalities formed of a combination of Stradivarian, Guarnerian, and Amatese principles. Magnificently transparent yellowish varnish. Gained first prize at the Consorso nationale di Liuteria, Rome, 1920, for a violin, viola, cello and double-bass, a competition where nearly 200 instruments were tested. 200, 1960.
---------------------------------------------
Cajetanus Sgarabotto Vicentinus
fecit Mediolanum anno Domini 1908
---------------------------------------------
SGARABOTTO, PIETRO
Son and pupil of the preceding. Born 1903. Won diploma for violin-playing at Bologna. Resident at Vicenza, 1920, and at Parma, 1930. Gained many medals for fine violins at Padua and Cremona, 1949. Deft workmanship of a level-headed craftsman. Splendid reputation throughout Europe and America.
-------------------------------------------
Petrus Sgarabotto Mediolani
fecit Vicentiae, anno Domini, 1922
-------------------------------------------
---------------------------------------
Petrus Sgarabotto Mediolani +
fecit Parmae anno Domini 1948
---------------------------------------
Some instruments signed Augusto Dor. 125 (1960).
SGARBI, ANTONIO
Born at Finale Emilia (Modena), 1866. Son and pupil of Giuseppe. Resident several years at Palermo where he studied violin-playing and composition at the Bellini Conservatorio. Established at Rome, 1892, and later merged his business into that of Sgarbi and Sons. Lived a few years at Modena. Died 1905. Admirable modelling, fully developed to a healthy vigorous appearance. Beautiful wood and orange-red varnish. Connoisseurs and violinists bestow considerable patronage on these brilliantly toned instruments. 250, 1960.
----------------------------------------
Antonius Sgarbi Domo +
Finalio in Aemilia A.M.S.
Fecit Romae An. 19. .
----------------------------------------
---------------------------------------
Antonio Sgarbi da Finale-Emilia
fece in Rome anno 1896
A+S
---------------------------------------
(sometimes with signature)
SGARBI, GIUSEPPE
Also known by the name Jarino. Worked at Finale Emilia (Modena), 1841-1899. Broad and rather flat modelling. Workmanship thoroughly satisfactory. Scrolls generally with very open throat, also attractive scooping towards the boss. Orange brown and red shades of varnish, the latter being of particularly excellent texture and very transparent. Large, robust, and flexible tone, suitable for orchestral players. Especially fine example realised 600 dollars in the U.S.A. (1928). Some instruments labelled Ceruti. Others falsely anti-dated. Also many violas and cellos. Measurements of a viola: body length, 16 inches; upper bouts 7.7/16; middle 5.1/16; lower 9-3/4. 250, 1960.
----------------------
Sgarbi Giuseppe
di Finale-Emilia
Fece lanno 1882
----------------------
SGARBI, LUIGI
Period 1898. Name of place not discernable on specimen we have seen. Well-made, but of peculiar shape. Slab back. Yellow syrup-like varnish.
SGROI, MANELJSO S.
Worked at Catania, 1925. Maker of all stringed instruments.
SHACKLETON, DANIEL
Resident at Bedford, 1880. Well-made violins, violas and viol-da-gambas.
SHAPIRO, OSCAR
Born Boston (Mass.), 1909. Studied violin and bass playing early in life, being descended from a family of professional musicians. Technician in a Telegraph Company, but commenced making violins as a hobby in 1953. Pupil of Willis Gault. Made five violins up to year 1959, Strad model, golden yellow varnish. Excellent workmanship. Resident of Washington, D.C.
SHAW, CYRUS L.
Worked at Flint (Michigan), 1927, as an amateur.
SHAW, ELBRIDGE G.
Located in Pleasant Street, Worcester (Mass.), 1908. Made a large number of violins, some obviously quite ordinary, but occasionally showed his natural artistry on something of really classical design and varnish. Spent later years in experimenting, and presented a batch of curiosities, all of peculiar shape, some rounded, some partitioned inside, and others of triangular shape. Finally resorted to the customary shape but chose strange woods.
SHAW, JOHN
Viol-maker to the Court. Worked in London, 1655-1698. Must have had a fine training judging by his superb viol-da-gambas, results theoretically perfect and substantially toned.
---------------------------------------------------
John Shaw at the Golden Harp and
Hoboy, next door to the Fountain Tavern,
in the Strand near the Savoy, London.
1688
---------------------------------------------------
One specimen realised 22 at Putticks (1904). 65, 1960.
SHAW, JOHN
Double-bass players Resident at Hulme (Manchester), 1900-1915. Well-made instruments favoured by orchestral players in Lancashire.
SHAW, THOMAS
Born 1864. Amateur. Stradivarian design, reddish yellow varnish.
-----------------------------
Tom Shaw
Cove. Dumbartonshire
-----------------------------
SHELMERDINE, ANTHONY
Alderman and magistrate at Liverpool, 1924. Amateur maker with exceptional gifts in constructive art. Generally Stradivarian modelling - body length 14 inches. Neat exterior workmanship, interior most scientific. Scroll, sound-holes and purfling, all of corresponding nature in gracefulness and accuracy. Wood of fine acoustical properties - backs handsomely figured. Elastic varnish of soft texture, dark walnut-brown ot a shade resembling satin-wood.
SHEPLEY, GEORGE
Worked at Bristol, 1830-1840. Ordinary designs and workmanship, but far from mediocrity.
SHERDON, DANIEL
Worked at Gloucester, 1845-1860. Stainer modelling, on which he let loose his somewhat confused mental and hand equipment.
SHERMAN, EUGENE M.
Born 1892. Established at Seattle and Bellevue (Washington), 1930-1947. Violins and violas (often of Washington broad-leaf maple), with the Italian tone and varnish which please the most discriminating artists. Also bows of peruambuco wood. Maker of a dichroic oil varnish, which has the elasticity, transparency, and other eftects of the old Italian varnishes as used by Stradivari and others, also appears of different colour when viewed by reflected light, thin or thick layers, tints constantly changing with intensity and direction of light.
SHIELDS, R. R.
Established at Manchester. Died 1905. Inventor of a bow which failed to realise the expectations claimed. Well-known for an excellently prepared rosin, very dark in colour.
SHOEMAKER, STEPHEN A.
Resident at Tacoma (Wash.), 1920-1927.
SHOUP, NOAH ERNEST
Born in Russia. Emigrated to U.S.A., 1920. Strad and Guarncrian designs, oil varnish, dark red or orange. American woods.
----------------
1928
N. E. Shoup
Detroit
----------------
SHRADER, GEORGE THOMAS
Born at McMinnville (Tennessee), 1873. Self-taught. First instrument made at Little Rock (Arkansas), 1905, where he practised the art professionally. Lived at Houston (Texas), 1930. Much can be done by those who have the will-power to overcome obstacles and knocks that beset the path of those who wish to reach their goal. There is plenty of room in the world for those who want to make good, and be good. The ground-floor is crowded with those who have to keep striving, and the few that reach their high ideal, get knocks and bumps on the way, as well as attempts to oust them from the exalted position arrived at. The diamond could never display its beauty and brilliancy if it could not stand the cutting subjected to, in order that it may prove its worth, so, we must ever strive to attain perfection. In the end it is only the soul trying to express reality of truth - all accomplishments are only the expression of the Creator, and the more humble we are in truth, the more will we be able to express our ideals. Shrader (a master-builder) spent all his intelligence in gradually perfecting his productivity, and satisfied to complete two instruments every year - and these are worthy of investigation. Catalogued at 250 dollars. Immaculate neat workmanship. Modelling entirely original, but without foolish vagaries. Beautiful varnish of various shades, the favourite being a Vandyke-brown with just a tinge of pale red. Most of wood transferred from magnificent native trees, splendidly marked sycamore for backs and ribs, cedarfire or spruce for tops. Also occasionally dark curly walnut and cherry wood for backs and ribs, and Oregon maple for necks. A maker who persistently tried to impart a clarinet-like tonal quality, and took pride in acknowledging his dreams of this sweetest tone having come true, and what is more, highly appreciated by several leading soloists.
----------------------------
Shrader. No. 36. 1925
----------------------------
(written)
-------------------------
Shrader
Violins
Voice of the Forest
- Trade Mark -
-------------------------
(with designs of a violin and tree)
SHROSBREE, HENRY JAMES
Born in London, 1858. Followed a seafaring life until 1880. Settled in business at Adelaide (Australia). Started violin-making about 1895. All productions reach a splendid standard of excellence, and their future deserves something opposite to the falling into desuetude attended with many modern instruments. Brilliant amber varnish masterly applied. Medallist at the Century Exhibition, Adelaide, 1900.
------------------------------------------------
Henry James Shrosbree, faciebat
Adelaide. S. Australia. Anno 1899 H.J.
S.
------------------------------------------------
(inside an inverted triangle)
SIANI, VALENTINO
Worked at Florence, 1620-1670. Aesthetic looking instruments, admirable for delicate players in their own drawing rooms, but, on our part, we soon weary of such a small tonal quality. Nor have we ever met with a specimen that has given us cause to repent this apparently (to some) hard criticism. Workmanship reasonably well finished. Luxuriantly rich golden brown varnish, thickly applied. Produced more violas than violins.
-------------------
Valentino Siani
Florent. 16. .
-------------------
SICCARDI, VICTOR L.
Violinist at Buenos Aires, 1940. Produced several violins which have reached considerable popularity in South America.
SICILIANO, ANTONIO (1)
Name sometimes mis-read as Ciciliano and Liciliano. Born at Bologna. Worked at Venice, 1630-1660. Few violins known. Several violas and viol-da-gambas, also colasciones, large and small, all valued as curiosities rather than for any practical purposes. Thickly coated dark red varnish. Terminal squares of the sound-holes very small, and main stem not notched. Viol type.
---------------------
Antonio Siciliano
in Venetia
---------------------
SICILIANO, ANTONIO (2)
Worked at Ancona (Italy), 1800. Large and broadly proportioned model. Brownish red varnish plentifully applied. Tonal quality of viola-like mellowness. 150, 1960.
SICILIANO, GIOACCHINO
Son and pupil of Antonio (1). Worked at Venice, 1680. Lutes which are not elaborate works of art, but still there is a rathel fine judicious talent for simple artistic building. Few violins. Some little exaggerations copied from old viols.
SIDTLER, GREGOR
Worked at Munich, 1762-1800. Pupil of Wolfram. Repairer to the Bavarian Court. Few instruments known. Best illustrations of his particular style somewhat follow the long modelling of a Maggini. Generally very handsome wood. Red varnish of fine consistency, applied with every care. No blemishes in workmanship to be detected. Tonal quality quite effective for ordinary purposes. 25, 1920.
---------------------------
Gregorius Sidtler fecit
Monachii Anno 1795
---------------------------
(with initials within a circle)
SIEBENHNER, ANTON
Born at Schnbach (Bohemia), 1851. Apprenticed to G. Lembck at Vienna. Principal repairer in the Gemunder establishment at New York, 1872. Gained first prize at Philadelphia Exhibition, 1876. Settled at Zurich (Switzerland), 1878. Died 1922. Stradivarian modelling, workmanship unsurpassable for accuracy and its concomitant refinement. Pretty, well-seasoned old woods. Generally a reddish shade of varnish, unquestionably of soft texture yet of the greatest brilliance. Full round tonal quality with the certain prospect of strong maturity as the years pass. Many fine bows bear his name, various models perfectly facsimiled.
------------------------
Anton Siebenhner
Zurich Anno 19. .
------------------------
(initials and cross, circled)
SIEBENHNER, BERNHARD
Worked at Schnbach, 1778-1826. Nicely conceived modelling treated in skilfu mode. Very pleasing woods, and at the same time, acoustically excellent, belly wood of beautifully narrow streaks, and backs of pretty curl. Tonal quality not powerful but very satisfactorily mellow and of rather bell-like clarity.
SIEFERT, CHRISTIAN HEINRICH
Born 1831. Owned a tailoring business at Eisenach. Also an amateur violinist Happened to see a Stradivarius, became duly enamoured, and ambitiously took delight in experimenting with thicknesses as well as varnish, avoided strange conceits and fancies, taught himself to think, and urged his powers to their greatest expansion. All this occupied fourteen years, then (in 1875) went to Leipzig armed with several of his productions, solicited an interview with Ferdinand David (eminent virtuoso and teacher) who encouraged him to become a professional maker, and settle in that city. Died 1889. Built many pretty specimens in the style of various old types, then, guided by practical wisdom, conceived his own special model. Fortunately possessed somewhat unusual knowledge of woods, and made extensive search for fine material. Varnish decidedly effective to some eyes, though perhaps a little too bright, resulting from some process of previously dyeing the wood. Tonal quality of the Italian smoothness, not newly loud, but speaking with penetrative intensity. For these superbly designed and fine toned instruments he was able to demand 60. Label always handwritten. Also had popularity with cheaper specimens expressly designated pupil violins. These have printed labels. Made violas and cellos, but comparatively few.
-----------------------------------
Heinrich Siefert
Streich-Instrumentenmacher
Leipzig. 1884
Hainstrasse 3 (am Markt)
-----------------------------------
SIEFERT, GUSTAV
Born 1856. Son, pupil and successor of C.H. Worked at Leipzig, 1925. Work similar to that of father in respect of wood and varnish. Recipient of many well-deserved testimonials from reputed soloists.
SIEGA, E.
Worked at Venice, 1890. Died 1936. Won several gold medals. Good modelling with a few exaggerations, large scroll with boss unduly protruding, wide purfling, edging slightly turned up, golden orange varnish. 125 (1960).
----------------------
Ettore Siega fece
Venezia
anno 1901
----------------------
-------------------------
Ettore Siega & Figli
Premiati Liutai
Venezia. Anno 1932
-------------------------
SIEGA, IGINIO
Born 1903. Son and pupil of above. Died 1941. Violins, violas, and cellos much in the style of Degani, both in design and transparent varnish.
------------------------
Iginio Siega
Premiato Liutaio
Fece Venezia 1925
------------------------
Initials branded below button. 75, 1960.
SIEGERT, FRANZ
Worked at Schnbach (Bohemia), 1820-1831. Few specimens known with labels, and those have slight ingenuity and little foundation of experience. Doubtless put his talent out of sight for the usual trade renumeration, and made instruments to be disposed of quickly and cheaply. Under this baneful influence and unwise abnegation his reputation is now very insignificant. Broadish outline, dull brown varnish.
SIEGFRIED, EUGENE
Established at Berlin, 1902-1930.
-------------------------------------
E. Siegfrieds Special copy of
Antonius Stradivarius
-------------------------------------
SIEMENROTH, A. F.
Worked at Cuestrin (Germany), 1870. Contributed interesting, but by no means very extensive examples of fairly good workmanship. No extravagance of outline.
------------------------
Aptirt und Reparirt
von
A. F. Siemenroth
in Cstrin 1870
------------------------
SIENKIEVICZ
Worked at Reczyca (Poland), 1810-1825. Embryo affairs completely impinging on artistic propriety. Injudicious choice of wood, and bad varnish.
--------------
Sienkievicz
in Reczyca
--------------
SIGNORINI, SERAFINO
Worked at Florence, 1875.
SIJTSMA, ATZE
Born at Ried (Holland), 1885. Architect and mathematician. Resident at Harlingen, 1930. Strad modelling, excellent design and workmanship, spirit and oil varnish of own formula.
--------------------------------------------
Atze Sitjsma
Vioolbouwer - Jacob Backerstraat 6
Harlinen
=
Anno 19. .
--------------------------------------------
SILLIVANOV
Worked at Zarevokokschaisk (Russia), 1885-1910.
SILONI, XAVIER
Worked at Florence, 1823. Violas of good design, careful workmanship, and orange shade of varnish. Body-length, 17 inches; upper bouts 8; lower 10. Magnificently deep-toned, 50. 150, 1960.
SILVESTRE, FRANOIS
Worked at Perpignan (Pyrnes), 1839-1845. Sometimes good copies of the Pressenda. Belly wood of medium grain, and generally two-piece backs. Dark yellow varnish, a sort of orange shade without reddish tint. 65, 1960.
-----------------------
Franois Silvestre
Perpignan
anno 1841. No. 51
-----------------------
SILVESTRE, HIPPOLYTE
Born at Saint-Nicolas-du-Port, 1808. Pupil of Blaise and J. B. Vuillaume at Mirecourt. Partner with his brother Pierre at Lyons, 1841-1848. Retired to Sommerviller and entertained himself with instrument making as a hobby. Pierres death, 1859, recalled him to take control of the business. Retired again, 1865, and the premises were taken over by his nephew Chrtien. Died 1879. Individual work labelled with his name seem non-existent. Mainly responsible for the somewhat commercialised type of instruments bearing his name with that of his brother. Good work of its particular class, not unlike some of the productions of Derazey and Vuillaume. 100, 1960.
SILVESTRE, HIPPOLYTE CHRTIEN
Born at Sommerviller, 1845. Pupil of Pierre and Hippolyte at Lyons. Succeeded to the control of establishment, 1865. Moved to Paris, 1884, and traded under the name of Silvestre neveu. Became associated with Maucotel, 1900. Died 1913. Recipient of Exhibition medals at Vienna and Paris. Master craftsman in his modelling of the Stradivarius and Guarnerius. Reddish brown varnish of Italian suppleness, plentifully applied, and very transparent. Every detail splendidly wrought. Nearly always wide grain belly wood. Tonal quality of fine and responsive brilliancy. 50, 1930.
------------------------------
H. C. Silvestre neveu
Lyon en 1872. No. 44
------------------------------
------------------------
Hippolyte Chrtien
Silvestre neveu
------------------------
--------------------------
Silvestre et Maucotel
Paris 1904 No. . . .
--------------------------
Silvestre and Maucotel also produced a high quality of tested gut strings named Miracle and Tricolore. 125, 1960.
SILVESTRE, PIERRE
Born at Sommerviller (Meurthe, France), 1801. Apprenticed to Blaise at Mirecourt. Proceeded to Paris and worked with Lupot and Gand. Fstablished own workshop at Lyons, 1829. Joined by his brother Hippolyte, 1831, worked in partnership until 1848, and afterwards alone. Died 1859. Many amateurs may ignore, or scoff at our enthusiasm for these violins, and we know that many doubt and deny the several excellencies - we wonder at this scepticism. Whoever admits of the dignity of impartial justice must pay homage to these rapidly maturing violins. Every French maker has been ordained to go through many obstructions and great prejudices before reaching his right pinnacle. We (believing in the French school), know that we have to combat with the incredulity of many players and connoisseurs; we know that our clearest expositions will be imperfectly understood by those who will not lend their ears and eyes to what we desire to enforce. Still, we do not despair of meeting some response, and perhaps succeed in converting many to our views.
Pierres individual work is far superior to anything in collaboration with his brother. Copied the Cremonese models, but had a partiality for the Stradivarian, which he rather faithfully delineated, though the measurements are a shade fuller. Attempted no originalities in outline and arching, except the slightly broader upper bouts, and the tiniest additional width at the waist. Each curvature ideally conceived. Corners beautifully finished and as delicate as the Amati. General measurements: body length, 14.3/32 inches; upper bouts 6-3/4; middle 4.9/16; lower 8.5/16; ribs 1-1/4 all round. Magnificently cut scrolls posed naturally and dignified, every curve and undulation being illumined beams of artistry, perfect fluting terminating by a bold squaring off at the bottom of the head. Purfling wondrously neat and narrow. Sound-holes especially fine, and must compel the admiration of any critic. Quality of woods always maintained, belly wood of immaculate fineness and straightness of grain, ribs and backs furnished with the handsomest material procurable. Shade of varnish generally a dark-tinted red of velvety smoothness, and its application has all the elements of grandeur. Tonal quality of fine resistance, all sufficient brilliancy and clearness, absolute evenness and a timbre foreshadowing a mellowness to gratify future generations, something to which all reason and conscience must respond. Guarnerian modelled specimens also splendid, though body length is slightly increased, and arching of upper bouts a shade excessive. Produced a few on the Grand-Amati plan, and everything thereon and therein felicitously done. Catalogued at 70 to 100, 1925. Violas rather scarce. Cellos of Stradivarian modelling and glorious reddish varnish. 150, 1925. Large-toned and of considerable appealing maturity. Several double-basses with modelled backs. Total productivity of instruments, 350. Best period, 1850-1858.
-------------------
Pierre Silvestre
Lyon 1848
-------------------
(with monogram double-circled)
-----------------------------------------------
Fait par Silvestre ain No. 2
Luthier chez Ma. chez Gand rue Crois
des petits Champs No. 24. Paris 1827
----------------------------------------------
(written)
Sometimes the accent over a is acute instead of grave.
Instruments made in partnership with his younger brother are of a quite different class from his individual work. Apparently an attempt to emulate the commercial output of Derazey and other Mirecourtians. Nevertheless several specimens stand out from the rest, and generally realise about 40. Personal work 125 to 200, 1960.
----------------------------------------------
P.H.S.
Petrus et Hipolitus Fratres Silvestre
Fecerunt Lugdini Anno 1838 No. 163
----------------------------------------------
SIMAN, IGNAZ
Born at Mirecourt, 1789. Worked at Haidhausen (near Munich). Died 1866. Famous for guitars and zithers. Also constructed a few violins and violas.
-----------------------------------------
Ignaz Siman
Saiten v. Instrumentenmacher
in Haidhausen bei Mnchen 1851
-----------------------------------------
SIMMAN, JOHANN MICHAEL
Worked at Mittenwald, 1760-1795. Scrupulously accurate delineations of the Klotz. Architecturally pretty, and make an indelible impression. Scroll nicely shaped. Sound-holes gracefully positioned. Medium grain belly wood, two-piece backs generally of a prettily marked small figure. Red-brown varnish of rich texture. Tonal quality warm and easily responsive. 30, 1930. Also guitars rather tastefully decorated with ivory. 65, 1960.
------------------------------------------
Johann Michael Simman, Geigen
macher in Mittenwald, an der Iser
1770
-----------------------------------------
(German lettering, decorative border)
SIM, GBOR
Resident at Marosvsrhely (Hungary), 1913. Made violins of curvature and arching originalities, meretorious only as curiosities. Not purfled, and without varnish. Tonal quality rather blatant.
SIMON, ARNOLD
Born 1900. Worked at Magdeburg and Markneukirchen, 1925. Good workmanship.
SIMON, CLAUDE
Worked in the Rue de Grenelle-Saint-Honor, Paris, 1783-1800. Son of Francois. Born at Mirecourt. Typical Mirecourtian style, but of the better class. Simon written under the varnish. 30, 1960.
SIMON, FRANCOIS
Worked at Mirecourt, 1775-1785. Long modelling with fairly flat arching, not especially attractive. Body length, 14-1/4 inches; upper bouts 6-3/4; middle 4-1/2; lower 7-3/4. Scroll unnecessarily large, and not altogether skilful work. Sound-holes rather graceful and of good width. Purfling exhibits all the neatness the connoisseur expects. Belly wood of wide and not ideally straight vein. Backs and ribs of plain material. Reddish brown varnish of fair quality. Tonal quality rather loud and without mellowness. Simon branded on the back at the button. Simon 1781 branded inside. 45, 1960.
SIMON, FRANZ (1)
Born at Mittenwald. Worked at Salzburg, 1720-1731. Instruments of fairly good proportions in length and breadth. Medium arching not unlike the Klotz. Dark shade of brownish yellow varnish. 45, 1960.
SIMON, FRANZ (2)
Born at Mittenwald, 1757. Worked at Salzburg (Austria), 1780-1803. Maker and repairer to the Court. Well developed modelling, with medium arching, of the Klotz school. Same relationship shown in the scroll and sound-holes: Departs from it by the application of a superior varnish of a transparent reddish golden shade - occasionally one of brownish yellow. Good veined belly wood, and generally one piece backs of nicely flamed material. Tonal quality agreeably round and rather mellow. 35, 1930. Made violins with back and front of pine. Six specimens preserved at the Caroline-Augusteum Museum, Salzburg. Also produced viols, lutes and guitars.
-------------------------------------
Franz Simon, Hof und brgerl:
Lauten und Geigenmacher zu
Salzburg. 1797
-------------------------------------
SIMON, FRRES
Two brothers working for Lecomte at Paris, 1850-1860. Specialised in the production of cello bows at a cost of twenty shillings each. Pernambuco sticks, and silver mounted. Stamped Simon Frres or sometimes Simon Fr.
SIMON, HERMANN
Born 1859. Resident at Essen (Germany), up to 1912; Gardener and grave digger at the Church there. Self-taught in the art of violin construction, 1887. Modelled several violins after the Maggini of 1647. Purchased his wood at Markneukirchen. Good workmanship though not refined.
SIMON, H.
Worked at Mittenwald, 1815-1827.
SIMON, JOHANN
Worked at Grosswardein (Germany), 1910.
SIMON, JOHANN
Worked at Mittenwald, 1812. Modelling rather clumsy in an attempt to be original. Brown varnish of fair transparency.
SIMON, JOSEPH
Worked at Schneck, 1855-1870. Reddish brown varnish. Fairly good workmanship.
SIMON, P.
Born at Mirecourt, 1808. Worked for J. B. Vuillaume at Paris. Became successor of D. Peccatte in the rue dAngivilliers, 1847; had one of the Henrys for a partner, 1848-1851; then worked alone in the rue Saint-Denis until death, 1882. Produced many worthy specimens of bows which his genius deservedly rendered popular. Finely executed large heads closely identified with most of his work. Octagonal sticks generally, and every attention paid to smooth finish of the bevelling. Average weight, 2.1/16 ounces. Stamped Simon. Paris. Occasionally not stamped. Several French traders produce commercial bows stamped Simon. 20, 1960.
SIMON, REN Born 1844. Pupil of Salzard at Mirecourt. Worked at Auch, 1873-1920. Won several medals. Splendid copies of a J. B. Vuillaume.
SIMONAZZI, AMEDEO
Born 1891. Pupil of Scarampella. Worked at Santa Vittoria (Reggio Emilia); and at Gualtieri, 1920. Produced 130 violins, also several cellos (Guadagnini style) up to year 1949. Everything superbly worked out. First series of instruments with golden red varnish, later a golden yellow, both beautifully transparent. Warm and pure tonal quality. Assisted by son Riccardo (born 1929). 90, 1960.
------------------------
Simonazzi Amedeo
in S. Vittoria Fece
Anno 19. .
------------------------
-----------------------------------------
Simonazzi Amedeo
Scolaro di Stefano Scarampella,,
----------
Fatto a S. Vittoria (Emilia)
Anno 1946
-----------------------------------------
SIMONET
Copyist of music for the various composers at theatres, Paris, 1815-1830. Made a few well constructed instruments.
------------------------
Simonet, Luthier
rue Montmarte 159
Paris 1822
------------------------
SIMONET, ETIENNE
Worked at Mons (Belgium). Made violins of good modelling, cellos rather flat. One or two violas known.
-------------------------------
Fait par Etienne Simonet
Mons, 1730
-------------------------------
SIMONIN, CHARLES
Born at Mirecourt, 1815. Apprenticed to J. B. Vuillaume at Paris, and soon established favouritism with him. Worked at Mirecourt; at Geneva, 1841-1849; and at Toulouse, 1850-1880. Obtained various awards at Exhibitions. Finely proportioned modelling, massive and dignified as a whole, and truthful in details. Nearly always of the Guarnerian form. Whole edifice reminiscent of Vuillaume influence. Excellent belly wood acoustically, but backs not always consistent with real prettiness of figure. Reddish shade of varnish mostly, occasionally golden-yellow. Tonal quality very reedy, brilliant and responsive. Also built violins with double-purfling and ornamentations on the back.
--------------------
Charles Simonin
Mirecourt
--------------------
-------------------------------
Ch. Simonin
Luthier Toulouse 1877
-------------------------------
-------------------------------
Simonin Charles
lve du Sieur Vuillaume
Paris
--------------------------------
Branded S.C. - initials surmounted by a crown. 100, 1960.
SIMONIS, LORETTO
Worked at Mantua (Italy), 1800. Andreas Guarnerius modelling. Arching, particularly in the vicinity of the waist, suggestive of Tyrolese ideas. Scroll rather deeply cut. Chestnut brown varnish.
SIMONSON, F. L.
Born 1886. Resident at East Stroudsburg (Pa.), 1930. Experimented with various woods, archings, graduations, and other inter-related factors relative to timbre and volume of tone. Productivity, over 60 violins up to year 1942, also l7in. violas. Dark brown oil varnish. Made many finely balanced bows.
SIMOUTRE, NICOLAS
Born at Mirecourt, 1788. Apprenticed to Lupot at Paris. Worked at Mirecourt and Paris, 1803-1843, and had several talented assistants including the brothers Vuillaume. Settled at Metz, 1844. Died there, 1870. Productivity resulted in more than a 1,000 violins and cellos. Large proportioned Stradivarian modelling somewhat in the style of Lupot. Outline curvatures done with a rapid certainty which skill dictates. Corners approached with a beautifully drawn touch; every part of the arching highly creditable in gradation. Scroll indescribably graceful as well as dignified, and shows his intimate acquaintance with the resources of perfect curving, fluting, etc. Expended equal ingenuity on the sound-holes. Purfling makes impression on the microscopic eyes. Wood often of good acoustical properties, but seldom prettily flamed. Reddish brown spirit varnish, perhaps a little hard, but applied with cunning nicety. Tonal quality not particularly sympathetic, but strong and brilliant, well serving the purpose of young technicians full of bowing strength. 35, 1930. Also successfully copied the Guarnerius, Amati, and others. Produced many guitars in earlier years. 90, 1960.
------------------------------
Nicolavs Simoutre
Lupot Nicolal discipulus
Divoduri fecit 18. .
------------------------------
-----------------------------------
Rpare par Simoutre Metz
en. 1862
-----------------------------------
SIMOUTRE, NICOLAS EUGNE
Son and pupil of the preceding. Born at Mirecourt, 1834. Worked for Darche at Paris, 1852; and for Ch. Roth and Schwartz at Strassburg, 1856-1860. Established workshops at Mulhausen and Basle (Switzerland), 1860-1889. Opened premises at Paris, 1890, assisted by his son Eugne. Awarded diplme dhonneur at the Basle Exhibition, 1877, and at Zurich, 1883. Patented, in 1885, a round legged or oval sound-post, which had for strengthening, a piece of wood glued to belly, and a similar piece to back. Made various innovations concerning the bass-bar and sound plates, also advocated the employment of certain woods other than pine and maple, but none of his ideas effected any revolution in the methods of subsequent makers. Built a large number of violins, violas, cellos, and double-basses - no outstanding features other than ordinarily good modelling and workmanship. Style reminiscent of Lupot. Various shades of varnish, sometimes applied very picturesquely - red being predominant. Produced imitations of celebrated ltalian instruments, and claimed to achieve the deep melancholy tone of the Maggini, the clarity and expressiveness of the Stradivarius, and the various timbres of the Guarnerius. Alard, Sarasate, Marsick, Lonard, and other virtuosi gave their names to laudatory testimonials, and several members of the famous Gewandhaus orchestra at Leipzig were presented with specimens. However, present day opinions have relegated them to 20 in tonal value. (1925).
---------------------------------------------------------------------
N. E. Simoutre, inventeur brvet des Supports harmoniques et de la Barre semi-adhrente
38 rue de lEchiquier Paris - anne 1892
---------------------------------------------------------------------
Author of To Amateurs of the Violin. History, construction, repairing, and preserving of this instrument (Basle, 1883). 55 pages of sensible ideas.
The Progress of Violin-building (Basle, 1886). 70 pages describing his Supportharmonique which consists of the lettering-in of wooden plates in the centre of the belly and back, with certain variations in the form and position of sound-post - supposed to endow violins with a tonal quality previously unthought of.
Supplement to the above Works (Basle, l889). Deals rather fully with colouring varnishes and has considerably raised a corner of the veil which floats over its mysterious secret.
Quote - In order to colour varnishes, I use sulphuric ether because it is mixable in all proportions with turpentine which forms the basis of the varnish. The colouring materials used are gamboge, dragons-blood, orleans, and sandalwood. The substances are digested in the cold with ether according to the colours desired. The solutions must be made as concentrated as possible. It is indisputable that ether (which is much more volatile than alcohol) once it is coloured and incorporated in the varnish, evaporates and leaves behind in suspension the colouring matter with which it was charged. Several violin makers tried this method, but generally found it of a syrupy consistency which made the drying very slow. It ran, and formed quite inartistic agglomerations. 75, 1960.
SIMPSON, FRANK THOMAS
Born 1887. Resident at Dunmow (Essex), 1922. Stradivarian modelling in which the storehouse of his mind and ingenuity of hand have been judiciously commanded. Also an original model (not excluding a partiality for Guarnerian traits) which is less convincing. Painstaking procedure of thicknessing merits approval. Desirable liberality in quantity and quality of wood. Splendid oil varnish applied with the entire freedom of an artist. Large and easily responsive quality. Catalogued at 10, 1935. Specialist in contralto violins, a species of viola. Body length, 14-7/8 inches; upper bouts 6.15/16; middle 4-3/4; lower 8-1/2; ribs 1.5/16.
Strangely tuned C (first string), F. B-flat and E-flat, a third below violin pitch. Also produced a tenor robusto of very large proportions.
SIMPSON, GEORGE
Violins not nicely arranged, several erratic courses being very obtrusive.
-----------------
G. Simpson
London 1807
-----------------
SIMPSON, GEORGE S.
Builder and monumental sculptor. Resident at Crail (Fifeshire), 1925. Produced about 40 violins. Generally of Guarnerius outline, bold in conception, and of good average design. Body length, 14-1/4 inches. Artistic perception emanates from the well-copied sound-holes, wings especially attractive. Corners of outline rather pronounced, and waist-curves typical of the prototype. Purfling neatly set and not too near the edge. Each instrument particularly well-wooded in quality and quantity. Scrolls sometimes not original. Dark orange oil varnish interestingly applied. Strong orchestral tonal quality successfully acquired. Also produced a few instruments with beautifully carved designs on the back, upper and lower parts showing the old borough Seal of Crail, and the four corners finished with the Scotch thistle - a tout-ensemble of truly regal magnificence.
------------------------
George S. Simpson
70 Nethergate
Crail
------------------------
Name sometimes written on the wood.
SIMPSON, JAMES AND JOHN
Worked in London, 1780-1795. Father and son. The former generally followed the Tyrolese style, agreeable outline without stiffness. Workmanship plainly showing he lacked stimulus of refinement. Scroll even less satisfactory - narrow and miserably shaped. Sound-holes make a good advance towards grace, but purfling often unsteady. Orange yellow varnish of dark shade. The son seems to have directed his attention more to the Amatese model, though he occasionally changed his tactics by a non-pretty narrowing of the waist. Light brown varnish of reasonable transparency. Sound-holes generally shorter than the Amati. Seldom produced an instrument not of a slab back of quite handsome wood. Tonal quality quite small but rather mellow.
--------------------------------------------------------
J. and J. Simpson
Musical Instrument Makers
at the Bass-Viol and Flute
in Sweetings Alley
opposite the East door of the Royal Exchange
London.
---------------------------------------------------------
Also a label with same wording except that John Simpson is substituted for J. and J. Simpson. Branded Simpson with sealing-wax stamp on back.
SIMPSON, OCTAVIUS
Amateur. Resident at Kelso (Scotland), 1820-1830. Produced several instruments with fancifully designed backs - Sea-nymphs playing musical instruments, marine emblems, and other arabesques profusely distributed. Remarkable for elaboration and fertility of conception. General construction of other parts rather mediocre. Tonal quality of nasal and unpleasant timbre.
----------------------------
Octavius Simpson
Designed and Created
1827. Kelso. S.
----------------------------
SIMPSON, ROBERT
Amateur. Resident at Belfast (Ireland), 1924. Advocate of Angells (Bristol) varnish.
SIMPSON, THOMAS
Born at Burnley (Lancashire), 1864. Worked at Walsall as a piano-repairer, 1883. Went to Peterborough, 1898, where he commenced violin-making. Moved to Birmingham, 1900. Held the best reputation as a repairer in that city for twenty years. Took a house by the sea at Brixham (Devon), 1925. Died 1933. Produced 80 violins of different models, all well designed. To a casual observer the workmanship may appear lacking in absolute refinement, but critical scrutiny will at least approve of its accuracy and thoroughness. Scrolls and sound-holes have quite a personal touch. Varied varnishing of different shades, sometimes with slight deficiencies in colour and application, but though none ever approach a revelation in the art, they are all free from any imputation of real impurity or anything really undesirable. Specialised in tone production (and outside work was more or less subservient to it) and in some instances he imparted something on that sure and permanent basis which will assume its full sovereignty in future years.
----------------------------
Thomas Simpson
fecit Dei gloriae T.S.
Handsworth No. 1902
----------------------------
Sometimes branded T 23
S 1900
Instruments from No. 70 date from Brixham.
Also realised fine balance together with remarkably smart workmanship on a good number of soloists bows. Stamped Simpson Birmingham.
SINCLAIR, WILLIAM
Amateur. Born 1836. Worked until 1900. Produced about 40 instruments largely based on the Guarnerius model. Early specimens somewhat rudely constructed, with certain measurements only approximately calculated, and covered with a spirit varnish. Later efforts of much improved workmanship and conception treated to an amber oil varnish of reddish hue. Conceived the idea of forming triangular fiddles having arrangements of sympathetic metal strings for increasing sonority of the bowed strings by consonant vibration - an invention not likely to be duplicated. Also foolishly experimented with double-stringed models, having two sets of strings one above the other, tuned either in unison or octaves, placed so far distant as to allow either set to be played upon by passing the bow between them.
-------------------------
William Sinclair
New Pitsligo
Aberdeenshire. N.B.
1892 1892
-------------------------
(written and printed)
SINDELAR, FRANK
Born in Czechoslovakia, 1883. Pupil of Hornsteiner (Chicago). Established in that city, 1920. Stradivarian and Guarnerian traits splendidly wrought, 300 specimens up to the year 1940 - excellent texture oil varnish of orange and red shades. Tonal quality particularly resonant and brilliant. Also 30 violas and 10 cellos. Inventor of Super-Sensitive Stainless Steel Strings.
SINGTON, AXEL
Established at Stockholm, 1919. Pupil of Lindholm and Hjorth (Copenhagen). Mainly Guarnerius modelling. 50 violins and 8 cellos. Reddish brown oil varnish. Very good workmanship. Received gold medal at Goteborg and Stckholm. Died in 1932 as a result of a motor-cycle accident.
SIR, LO (1)
Born at Agen (France), 1855. Amateur. Founder of the Firm at Marmande, near Bordeaux. Died 1927.
SIR, LO (2)
Born at Bordeaux, 1883. Son and pupil of the preceding. Also benefited by the tutelage of Charles Brugre. Collaborated with his father in the production of a double-quintet or dixtuor, which was first presented to Parisian audiences by the composer Hyard, 1913. Gold medals at Bordeaux, Lige, and other Exhibitions, also several diplomas of honour. Established the EcoleBordelaise at Marmande. Died at Rennes, 1913.
---------------------
L. Sir
Marmonde 1912
No.
---------------------
(flourishing caligraphy)
SIRGENT, JULES
Born at Mirecourt, 1869. Worked for Thibouville-Lamy, and others. Excellent Italian models - oil varnish, golden yellow or yellowish brown.
---------------------------------------------------
Jules Sirgent, luthier
mention honorable Exposition 1900
105 Avenue Gambetta Paris (xxe.) No. . .
---------------------------------------------------
SIRJEAN, HENRY
Worked at Mirecourt, 1768-1786. Strong looking violins, but with workmanship tending towards the unskilful, sharp corners, and brick-red varnish. Tonal quality not defensible against a marked coarseness. 15, 1920. Branded Sirjean, or H. Sirjean on button. Also, Henry Sirjean. Mirecourt on the interior.
SIRJEAN, LOUIS
Bow-maker at Patis, 1818. Rarely seen.
SIRONI, AMBROGIO
Born 1901. Pupil of Antoniazzi. Worked at Milan. Died in 33rd year. Excellent designs, workmanship and varnish. Won diploma at Rome.
-------------------------------------------------
Premiato alla Reale Accademia di Roma
Ambrogio Sironi +
Allievo di Antoniazzi A.S.
Fece in Milano lanno 1929
-------------------------------------------------
(with signature and address)
SIROTTI, NICOLA
Amateur. Resident at Spilamberto, 1870-1890. Carefully made violins. Small productivity.
SITT, ANTON
Born at Val (Hungary), 1819. Died 1878. Worked for Schweitzer at Budapest, 1834-1843.Went to Kuliks establishment at Prague, 1848. Subsequently married the daughter, and of this union Hans Sitt (the celebrated violinist-composer) was born. Had own premises in the same city from 1850. Bold modelling mostly after the Stradivarian and Guarnerian styles, also occasionally of Amati, Maggini and Stainer. Instruments sometimes too thick in wood, and consequently muffled in tone. Workmanship of outline, scroll, and sound-holes cleverly accomplished. Varnish charmingly applied, of substantial but elastic quality. Tonal quality full bodied, but will take many years to refine. Cellos considered to be greatly superior in every respect.
------------------------------------------------
Antonius Sitt
ad forman G. Guarneri fecit Pragae 18-
------------------------------------------------
Initials in right-hand corner and a cross within a double circle. Other labels have ad forman Petrus Guarneri and ad forman Antonio Stradivari, etc.
SIVARD, REUBEN A.
Resident at Oklahoma (U.S.A.), 1922. Patented an invention for which he claimed that violins could be produced more easily and cheaply (as well as attaining greater durability) than any other previous structural procedure. Not much material differentiation between the ordinary back and front. Projecting edges and corners entirely absent, giving the instrument a guitar-like outline. Certain inside-rib formations for strength. Improved bass bar and other internal innovations for ameliorating tonal freedom. Sound-holes quite similar to the established shape.
SIVORI
Commercial instruments turned out in large quantities and labelled -
---------------------------
Sivori
Grand Artiste-Violine
Fabrik Marke
No. 1001 A.D. 1914
---------------------------
(monogram within a shield, in centre)
SJOGREN, ANDERS
Born 1906. Amateur at Alingsas (Sweden).
SJOGREN, CARL MAGNUS
Born 1899. Amateur at Malm (Sweden).
SJOHOLM, BERDT LORENTZ
Born 1888. Resident at Gteborg. Expert Strad modelling, reddish brown varnish.
SJOLIN, OLE
Born 1911. Resident at Sderhamn (Sweden).
SJOSTRM, KNUT
Born 1904. Resident at Trans (Sweden). Violins and cellos much esteemed in own country.
SKALAR, MAXIMILIEN
Born 1908. Professor of violin at the Conservatorio, Liubljana (Serbia). Studied violin-making with Kriz at Prague. Individualistic modelling, reddish varnish on yellow ground.
SKEFFINGTON, WILLIAM KIRKLAND
Born at Ayr (Scotland), 1845. Worked at Glasgow, 1890-1900. Early productions constructed on the Otto principles. Tonal quality quite impoverished by shrillness and thinness. Subsequently adopted the Guarnerius outline, but failed to arrive at any particular ideal. Arching too bulgy, necessitating inartistic grooving near the purfiing. Excellent workmanship somewhat obliterated by mediocre contour conception. Varnish of crimson hue not especially attractive. Tone fairly strong but wholly without sweetness.
--------------------------
Wm. K. Skeffington
Glasgow, 1895
--------------------------
(written)
SKINNER, JOHN WALTER
Born at Sheffield, 1868. Apprenticed to Johnson and Appleyard as a cabinetmaker; student at the School of Art and became expert in drawing and woodcarving. Joined a firm of Silversmiths, 1900; retired from the trade, 1918. Commenced violin-making as a hobby, 1908. Produced first real instrument, 1910, built according to a Guarnerius diagram. Second instrument, of Stradivarian modelling, appeared five years later. Subsequent efforts all belong to a model of his own measurements and proportions. Width of upper bouts, 6-1/2 inches; middle, 4-1/8; lower, 8. Depth of ribs, 1.3/16 to 1-1/4. Became a professional maker and restorer, 1923, with a most interesting workshop in Psalter Lane, Sheffield. Lived at Dawlish (Devon), 1930. Contour and workmanship approximately approaches the classical models. Particularly neat edging and purfiing. Endeavoured to give a distinct personality to each instrument. An advocate of the new without losing veneration for the old master productions. Indefatigable in researches for tonal amelioration. Chose the best material, treated it most carefully and scientifically, and particularly expert in varnishing. Finally, an enthusiastic art lover.
-----------------------------
John Walter Skinner
Violin Maker. Sheffield
No. 5 A.D. 1920
-----------------------------
SKINNER, S.
Amateur. Resident at Christchurch (New Zealand), 1924.
SKOMAL, NICOLAUS GEORG
Worked at Gratz (Styria), 1776-1820. Splendid representatives of the Prague school. First period instruments rather flattish. Thin edging, and broad projecting corners. Dark brown varnish of dull lustre. Later period instruments have thicker edging. Also a rather pretty golden brown varnish. Belly wood generally of excellent quality. Tone fairly full and orchestral, but lacking the Italian quality. 75, 1927. Produced several magnificent cellos. Modelling somewhat reminiscent of a J. B. Gaudagnini. Beautifully flamed back and ribs. Lustrous golden-red-brown varnish. Everythirg perfectly proportioned.
---------------------------------
Nicolaus Georgius Skomal
fecit Graecii, 1798
---------------------------------
After receiving a Court appointment in 1809, the labels bear design of a small eagle. Other labels sometimes give name as Niklas Skomal and sometimes Georg Skomal, but the instruments must not be attributed to two different men.
SKOTSCHOFSKY, JOHANN GEORG
Polish parentage. Worked at Darmstadt (Germany), 1710-1729. Successful in the realisation of a graceful contour. Sound-holes and scroll certainly demonstrative of something worthily achieved. Extended his carefulness to the problem of varnishing. Altogether desirable instruments, but few known. Also made viol-damours with remarkably fanciful heads.
--------------------------
Johannes Georgius
Skotschofsky fecit
in Hessen-Darmstadt
1715
--------------------------
SKOU, B.
Resident at Manilla (Phillipines), 1927. Not many examples seen.
SKOULA, JOHANN
Worked for J. Dvork at Prague. Established at Dresden. Died 1899.
SLADE, JOSEPH
Born at Hampstead (London), 1859. Followed the profession of painting flowers and designs on domestic trays and the like. Went to South Godstone (Surrey), and gave much of his time to gardening and fruit growing. Of a highly nervous and sensitive temperament like all artists. Made first violin, 1886. Subsequent instruments based on Stradivarian and Guarnerian models. Contour entirely attractive. Praiseworthy precision of every detail, and everything extremely well finished. Wood judiciously chosen for beauty and strength. Spirit and oil varnishes artistically applied. Especially successful, in tonal quality, having a somewhat unusual timbre for comparatively new creations, altogether what one might term a musical tone.
---------------------
Made by
Joseph Slade
South Godstone
1920
---------------------
(neatly written in block lettering)
SLAGHMEULEN
see VAN DER SLAGHMEULEN.
SLAUGHTER
Resident at Montrose (U.S.A.), 1899. Travelled throughout the world; made one unique violin during his leisure moments. Cherry wood for the back purchased from the Howard-Payne College, probably 200 years old; in the centre of the back are inserted 21 different pieces of wood found in the Holy Land, one being a grape-vine that grew in the garden of Gethsemane; around the margin is set a row of small pieces of wood (in the shape of diamonds) gathered from all parts of the world, and several years were necessary for their collection. In one end of the back is a horseshoe made of castor-wood, and in the other end is the figure of a rabbit carved in cherry wood. Altogether 150 pieces of wood. The only tools used by the ingenious constructor were an ordinary pocket-knife and a half-inch chisel.
SLAVENS, JOHN M.
Established at Portland (Oregon), 1922-1926. Ordinary workmanship.
SLAVIK, JOSEPH
Born in Austria, 1880. Pupil of Schweitzer (Vienna). Worked in Roumania, Poland and Germany. Went to New York, 1907. Cremonese models, oil varnish of old-brown and dark blood red shades.
SLAVIK, KAREL
Worked at Horovice (Bohemia). Specimen catalogued at 15, 1925.
SLEATH, ALFRED HENRY
Worked at Brisbane (Australia). Known as a professional cellist. First-class Cremonese modelling, oil varnish of red-brown or orange shades. Learned violin-making in London as a young man.
--------------------------
A. H. Sleath
Fecit
AHS Brisbane 1896
--------------------------
SLEATH, HOWARD F.
Born in Brisbane, 1899. Son and pupil of preceding. Started work as his fathers assistant at the age of 14 and has been making and repairing violins etc. ever since. Copies of Joseph Guarnerius del Jesu. Was much assisted by Mr. Alfred Hill who made certain models and measurements available. Only limited output of violins, and an occasional viola. Worked for Kubelik, Kreisler, The Cherniavsky Trio and many others. In 1959 made copy of Rugerio Reccis Guarnerius with much success. Moved, in 1949 to Sandford Street, St. Lucia, where constantly engaged in repairs and restorations. Closely associated with the string section of the Queensland State Symphony and Australian Broadcasting Commission Orchestra, 1960.
---------------------
H. F. Sleath No.
Fecit
Brisbane, 1959
---------------------
(written initials on lefthand side)
SLEATH, H. W.
Born in Birmingham - Father of A.H. Migrated to New Zealand and then shifted to Brisbane, Queensland, Australia where he established a musical instrument business about 1868.
SLOSSE, EMILE
Born at Brussels, 1890. Amateur violinist and engineer. Died 1949. Made scientific researches in the internal parts of old Cremona violins, and patented his theories concerning tonal quality, etc. Collaborated with Prosper Devylder (violin maker - pupil of Falisse). Strad and Guarnerian models. Each instrument claimed to have a remarkable Italian sonority. Reddish-brown varnish on golden background, very transparent and warm-looking, shaded to have an old appearance.
-----------------------------------------------
Ad Antonii Stradivari normam
E. Slosse & P. Devylder
fecerunt Bruxellis Ao. . . . . . .
No. . . . . . M . . . . . C . . . . . Brevet -----------------------------------------------
(with monogram)
SLOUS, GIDEON
Worked in London, 1838-1847. Violins and violas. Signed below tailpiece.
SMART, GEORGE
Worked in London, 1700. Specialised in the production of cellos, many finding their way to Holland. Workmanship and modelling keep well up to the front in the general running of English instruments of same period. Nothing objectionable about any detail, outside or inside. No uncertain wandering of hand about the well curved scroll and sound-holes. Did not consider purfling as a necessary ornamentation so dispensed with it, thus unconsciously putting a slight ban on the general acceptance of his work. Well constructed with nicely marked material. Orange shade of varnish of lovely Italian suppleness. Stamped G. Smart under button. 80, 1960.
SMART, JOHN
Worked in London, 1700. A man of considerable skill who was encouraged to artistic productivity, thus aiding in purging the markets of many high bellied monstrosities then prevailing. Connoisseurs should take the initiative in inviting amateur players to unprejudicially view the excellent constructive proportions of these violins, violas, and cellos, and give the tone (one of really warm maturity) a fair trial. Also produced several double-basses with flat backs and corners somewhat viol-shaped.
----------------------------
John Smart, Maker
Oxford Road, London
----------------------------
Sometimes branded below button. 80, 1960.
SMILLER, MARTIN G. A.
Modelling etc., quite Bavarian, but of second-class order in design and workmanship. Arching full towards the middle, and flat towards the edges - something similar to an inferior Duke. Backs of plain material, and tables of very closereeded pine. Dark varnish of a nondescript colour - yellow and brown. Tonal quality of enervated sweetness.
--------------------------
Martin G. A. Smiller
Anno 1764
--------------------------
SMILLIE, ALEXANDER
Born 1847. Worked at Glasgow, 1888-1918. Received no training from any maker, but the gratifying results of his early instruments propelled him into taking the art up as a profession. Multiplicity of his violins attest his diligence. The excellence of all, and the especially high quality of many, testify to genius. Without servilely copying the Stradivarian and Guarnerian (mostly the former), he based upon those styles the feeling of Cremonese influences; enlisting all facile talent to aid him in the production of artistic designs. Perhaps not ideal conceptions, but nevertheless very splendid. Outline graceful yet masculine, upper bouts more rounded than the Stradivarian, arching moderately full, but finely extended in gradation and a well developed waist, the whole completely harmonious. Plates thick in wood, but sufficiently tapered to afford free vibration. Backs a quarter of an inch thick at centre. Scroll manipulation has none of the adventitious excursions usually associated with this prominent feature, but travels the undulatory paths with great certitude. Same sureness of hand (guided by a true eye) establishes fineness about the sound-holes and purfling. Very old and thoroughly seasoned woods, excellent in quality, fibre, and flame. Belly-wood mostly of wide vein. Whitelaws amber varnish of various shades, preferably red or brownish yellow, splendidly applied and very patiently toned down. Sonorous tone, strong, often brilliant, and not without elements of persuasive sympathetic quality. Cellos also of similar characteristics. Each instrument numbered. 80, 1960.
-------------------------------
Alex: Smillie fecit
Crosshill, Glasgow, 1900
No. 132
-------------------------------
(sloped lettering)
Erudite antiquarian, also an authority on Persian carpets, etc.
SMILLIE, ANDREW YOUNG
Son of A. Born 1878. Died 1948. Made 200 violins, also violas and cellos. Magnificent instruments, usually Strad outline and arching, with Guarnerian sound-holes and waist-curves. Early instruments with spirit varnish of reddish-brown hue, later, a beautiful oil preparation of various tints. Violas always of small pattern, and have a remarkably penetrating tone. He never advocated the large model now so prevalent in England. 85, 1960.
-------------------------------------
A. Smillie & Son
171 St. Georges Rd. Glasgow
No. . . . 19. .
-------------------------------------
-------------------------
Andr. Y. Smillie
fecit Glasgow Anno
-------------------------
(copper plate)
SMITH, ALBERT J.
Resident at Tomalosset, Enniscorthy (Ireland), 1900. Went to Kitchener (Ontario), 1920. Amateur who has sown a few excellent seeds in the way of violins, hoping that they will spring into real activity when a certain number of years bring maturity.
SMITH, ALEXANDER HOWLAND
Born at Edinburgh, 1859. Worked there, 1905. Stradivarian and Guarnerian modelling. Amber oil varnish of reddish yellow shade. Produced about 50 instruments all showing undeviating honesty of purpose at least. Tonal quality of ordinary strength and sweetness.
--------------------------------
Alexander Howland Smith
Edinensis, hoc fecit, 1897
--------------------------------
(some written, others printed)
SMITH, ARTHUR EDWARD
Born at Maldon (Essex), 1880. Not taught by any maker, but gleaned information from Hills book on Stradivarius. Made interesting restorations of poor models during his spare hours, ultimately attracting C. W. Jefferies of Maldon, who had extensive premises as a dealer and was himself an enthusiast in violin art. Worked at that warehouse for five years. Migrated to Melbourne (Australia), 1909. Subsequently moved to Sydney, and built up a splendid reputation for repairing, etc., which enabled him to have the assistance of five or six workmen. Maldon early instruments all exhibit excellent outline and arching, and particularly good scrolls. Productivity of this period resulted in 20 violins and one quarter. Sound-holes perhaps slightly less meritorious. Priced at 10 to 20, 1910. Later Australian instruments greatly superior in every department. Truly splendid curvatures of outline, and fine gradation in arching. Sound-holes ideally picturesque. Neat and very accurate purfling, artistically mitred at the corners. Handsomest wood procurable. Carried out almost endless experiments with oil varnish, and succeeded in getting one exceptionally elastic and transparent in shades of pale golden-yellow, orange-red and reddish-brown. Strongly in favour of the orange-red, and most of his instruments have this lovely shade - a shade derived from the process of manufacture and not from impregnance of any coloured pigment. Altogether a fine achievement in sonority of tone. Usually valued at 50. Instruments praised by the leading virtuosi visiting or residing in that far-off country. Recognised as the premier maker in any Australian city. Also produced violas and cellos.
-------------------------------------
Made by
A. E. Smith for
Jeffreys & Sons
Maldon, Essex. No. . . . 1906
-------------------------------------
-----------------------
Edward VII
No. 8 A. E. Smith
Maldon 1901
-----------------------
--------------------
Arthur E. Smith
Sydney, 1924
--------------------
SMITH, B.
Freakish modelling altogether ugly. Waist too wide to fit in with other proportions. Ribs excessively narrow, yet small scroll sometimes unaccountably neat. Sound-holes also fairly graceful. Moderate quality of wood covered with light brown varnish.
SMITH, BERT
Born at Sale (Cheshire). Resident at Bowness-on-Windermere, and at Coniston in 1938. First instrument dated 1930. Specialist in copying the Messie Strad, and the Vieuxtemps Guarnerius. Also violas of 16-1/2 inches body-length; upper bouts 8.1/16; lower, 10; ribs 1-5/8 to 1.9/16. Violin and viola bows form part of his industry.
--------------------------------------------
Facsimile
Antonius Stradivarius
Made by Bert Smith
East View, Coniston, Lancs. 19. .
--------------------------------------------
SMITH, JAMES
Worked at Coaltown-of-Wemyss, 1947. First-class repairer, and maker.
SMITH, JAMES
Worked in London, 1725-1730. Amatese modelling with no embarrassed curving or arching. Scroll responds to prettiness of contour. Brown varnish rather thinly applied.
-----------------
James Smith
London 1728
-----------------
(written)
SMITH, JAMES
Arching quite artistically graduated. Splendidly cut scroll, cleverly bold without heaviness, and comparatively faultless. Sound-holes too wide and seem positioned unnaturally, the top and bottom curves rather over-drawn. Purfling not especially neat. Violins previous to 1921 varnished amber-brown or ruby-brown, later instruments dark-amber. Though the workmanship fluctuates in excellence, the tone does not, this tone being astonishingly powerful, free, and penetrating.
--------------------
James Smith
Chapelhall 1924
22/10/24
--------------------
(written)
SMITH, JOHN
Worked at Whitchurch (Shropshire), 1794-1820. Amatese modelling very truthfully rendered. Workmanship infinitely refined. Golden brown varnish most felicitously applied. Medium arching and small scroll, both splendid. Tonal quality quite Italian, not large but most attractively sweet. Some specimens anti-dated 100 years.
SMITH, JOHN
Born at Raunds (Northamptonshire), 1850. Resident at Teddington. Died 1923. Guarnerian modelling but possessing too much individuality (not unworthily) to be a faithful delineation. Careful workmanship without especial fine finish. Bold scroll rather unique on the approach to the boss. Sound-holes well in keeping with the original. Varied shades of oil varnish, yellow to red. Tonal quality generally sweeter than many new instruments.
---------------
Made by
John Smith
Teddington.
London, W.
---------------
SMITH, JOHN
Born at Fauldhouse (West Lothian), 1859. Served apprenticeship as a joiner and cabinet-maker. Practised the violin every evening after workshop hours. While resident at Bathgate (West Lothian), became interested in violin construction, some inherited talent (father and uncles were all more or less fanatics in the art) impulsing him to create anything that could be played upon. Produced first proper instrument, 1878. Went to live at Falkirk and decided on becoming a professional maker, 1880-1904. Worked at Glasgow, then migrated to Winnipeg (Canada) where, in 1928, he was still enjoying great activity in his pursuit. Died 1941. Most of the violins of early period constructed on the Stradivarian ideas incorporated in Davidsons text book. Later instruments more individualistic - outline reminiscent of a Guarnerius, but arching rises direct from purfling and tapers out very gracefully. Viewed from the front they appear to be almost flat, but when held sideways the peculiar depth of arching is very observable. Full proportions, and general appearance rather massive. No tiniest detail loosely executed. Admirable scroll equipped with personality, fluting well defined, and perfect bossing. Inside-work has all the propriety of scientific minuteness. Sound-holes not deficient in pose, curves, wings, gradation of stem, and notches, all being treated with the utmost respect. Purfling also splendidly steady and perfection of width maintained all round. Spent a little fortune in procuring finest woods. Did not believe in American material of any kind. Used Italian sycamore (felled at least 100 years), for backs and ribs, Italian pine for tops, and cedar of Lebanon for reinforcement of sides. Total productivity up to the year 1928 amounted to 130 violins, 3 violas, 6 cellos, and 2 quartets (one made for the Glasgow Exhibition, 1901, and, the other for the Winnipeg Exposition, 1921). Personal friend of James Whitelaw of Glasgow, and exclusively used his amber varnish until moving to Winnipeg. Began experimenting in that problematical affair and ultimately formulated one which, when applied and polished by an artist such as he, gives the effect of sunrise or sunset according to the different shades. Effect obtained by application of eight coats - two of pale amber, two of orange, two of dark orange, and two of dark brown. Tonal quality particularly good, large and penetrating, with the elements of sympathetic sonority, a tone of which the maker was justifiably proud, and, without being accused of undue conceit, or knocking at others, claimed at least an equality with any contemporary maker. Made a violin for the National Museum of Wales. Believed in leaving plenty of wood in his instruments, and if graduations are properly equalised to the capacity, smooth tone must emanate, irrespective of the quality and thickness of varnish. Advocated that the modern violin is made as perfectly as the old, and will yield similar results with the necessary hand of time.
---------------
Made by
John Smith
Falkirk
No. 1893
---------------
---------------------------------------------
Made by
John Smith
617 Furby St. Winnipeg
Late of Glasgow & Falkirk, Scotland
----------------------------------------------
SMITH, JOHN E.
Born at Froyle (Hampshire), 1867. Pupil of William Glenister, and many years associated with him at Beak Street, London. Recognised as an expert judge of old instruments, and a reliable appraiser of their value and authenticity. Produced but few new violins. Some modelled on Strdivarian principles, others follow an attractive Sebastian Klotz. Both designs splendidly conceived. Workmanship not superfine in refinement, but nevertheless excellent. Particularly attentive in avoiding prominently thick edging. One or two of the early scrolls fall away too abruptly at the back - too obvious to be lightly passed over - later ones have this remedied. Eschewed every piece of wood not perfectly acoustical. Not faddy in constructive ideas, but strongly of the opinion that the bass bar should be the same width as the foot of the bridge, sloping off either way to the end of the bar. Advocated that the quality of wood and its graduation was the prime factor in tonal beauty, and that the replication of varnish was only a necessary adornment. Chestnut-brown oil varnish. Certainly most successful as a tone producer, the quality being quite un-newish particularly responsive, clear and bright.
------------------------------
John E. Smith
23 Beak Street, London
No. 6 Pupil of 1924
Wm. Glenister
------------------------------
(done by hand with decorative scrolling)
Name and date signed in ink under the varnish by tailpin.
SMITH, JULES
English by birth, but established at Evansville (Indiana). Mainly Strad modelling. Excellent workmanship and varnish of a tender clear brown, or red shade.
SMITH, KITTY DENEREAZ
Studied violin-playing at the Conservatory, Sydney (Australia). Also made (under tutorship of her father A. E. Smith), 17 violins, 1 viola, and 2 cellos. Gained diploma of honour at The Hague, 1949. Strad, Guarnerian, and personal models. Workmanship highly praised by critical observers, and tonal qualities much appreciated by Australian violinists.
SMITH, NATHANIEL
Worked at Bristol, 1830-1840. Passable workmanship.
SMITH, NORMAN
Born in Winnipeg (Canada), 1908. Apprenticed to the late James Hewitt, violin maker of Auckland, 1925, and took over the business in own name in 1933. Modelling mainly of Strad and Guarnerius.
--------------------------
NORMAN SMITH
Auckland, N.Z. 19. .
--------------------------
(printed in brown)
SMITH, PYE
Worked at Hereford, 1850. Not much imitative versatility in the modelling. Workmanship fairly neat. Thin quality of tone.
SMITH, ROBERT
Worked at Coatbridge, 1910. Ordinary type instruments.
SMITH, THOMAS
Worked in London, 1740-1790. Pupil and successor of Peter Wamsley. Specialised in production of cellos. Modelling bears certain traits of the Stainer pattern. Nothing particularly luminous about the workmanship, yet fairly acceptable in finish. Scroll and sound-holes of no especial enhancement. Quality of varnish not praiseworthy, shades being either a brownish yellow or a muddy yellow. Some specimens have a powerful tone which, however, is generally dry and raspy. Orchestral players of his time greatly favoured them, and paid 8 to 10. A hundred years later the prices had mounted to 40.
Violins generally of a flattish arching. Design and workmanship just creditable. Scroll and sound-holes not entirely relieved of a kind of stiffness. Belly wood often of narrow vein, and backs of nicely flamed material. Light brown varnish not very transparent. Tonal quality of moderate power and sweetness. 65. Cellos 95, 1960.
----------------------------------------------
Made by Thomas Smith
at the harp and hautboy in Pikcadilly,
London, 1759
----------------------------------------------
------------------
T. Smith 1756
------------------
Sometimes branded T. Smith and date.
Said to have made double-bass bows, but quite likely Edward Dodd was the actual maker. Stamped T. Smith.
SMITH, THOMAS
Born at Larkhall (Lanarkshire), 1901. Agriculturist, resident at Old Struther Farm, 1927. Produced about a dozen violins and 2 cellos from 1921 to 1923.
No. 1. Stradivarius model, dark brown varnish.
Nod. 2 to 6. Amati models, dark red varnish.
No. 7. Maggini model, dark red varnish.
Cellos of Stradivarian design, dark orange varnish.
SMITH, THOMAS
Working at Lakewood (Cleveland), 1950. University of Illinois have five perfectly matched viols made by him, who followed specifications based on measurements of antique viols.
SMITH, THOMAS J.
Born at Portersville (Ohio), 1874. First constructive excursion attempted in 1890, and resulted in something failing to create great excitement on his part. Perseverance, however, brought satisfactory progress, and up to the year 1927 about 100 instruments were finished. Modelling mostly on the Stradivarian, a few of his later productions being after the Guamnerius type. Orange and deep red shades of varnish, a beautiful preparation assuming fine effect from artistic application. Recipient of flattering comments concerning the tone from various members of the Chicago and Cincinnati symphony orchestras. Had a fine knowledge of woods and their preparation.
---------------------------------
Thos. J. Smith, Maker
Mt. Vernon, Ohio. U.S.A.
Date . . . .
--------------------------------
(decorative border)
SMITH, WILLIAM
Worked at Hedon (Yorkshire), 1780-1805. Design and workmanship not very creditable.
SMITH, WILLIAM
Worked in London, 1770-1790. Violins and cellos.
------------------
Wm. Smith
Real Maker
London, 1771
------------------
Also signed.
SMITH, W. E.
Resident at Bristol, 1925. Patented a pure spirit varnish of lustre, and durability, and applied without size or any other ingredient - golden amber colour. Built instruments somewhat resembling the Greffuhle Stradivarius.
SMITH, WILLIAM J.
Born in Nova Scotia, 1880. Resident at Mount Kisco (N.Y.), 1915. Cremonese models, most details wrought with considerable refinement, golden brown and reddish brown oil varnish. Produced over 100 up to the year 1942.
SNEIDER, GIUSEPPE
A German who worked at Pavia (Italy), 1690-1725. Assisted Nicol Amati in his workshop at Cremona, 1680. Some instruments very similar to those of Hieronymus Amati, son of Nicol, fairly large proportioned and medium arching. Others more approaching the contour of a Nicol. Scrolls generally very gracefully cut and posed. Sound-holes sometimes placed slightly farther apart than usual with the Cremonese, but always artistically designed. Yellow shade of varnish, rich in texture and transparent. Tonal quality almost unimpeachable in its evenness. 650, 1960.
-----------------------------------
Joseph Sneider Papiae
alumnus Nicolai Amati
Cremonae, fecit Anno 1703
-----------------------------------
(decorative border)
SNELL, FRANK
Established at Watertown (New York), 1927. Student at the Bretch School of Violin-making, 1914.
SNIS, ANDERS
Born 1886. Resident at Ingels (Sweden), 1920. Some instruments made in collaboration with Persson.
----------------------
Snis and Persson
Anno
----------------------
SNOECK (SCHNOECK), EGIDIUS
Worked at Brussels, 1700-1736. Lute and violin maker to the Belgian Court. Modelling partakes somewhat of the Amatese style, but also a slight adherence to the Tyrolese. Reddish brown varnish of rich hue and beautifully transparent. Unique instruments from every point of view, and greatly esteemed by collectors of art works.
----------------------------------------
Egidius Snoeck tot Brussel, 1731
----------------------------------------
----------------------------------------
Egidius Snoek Bruxelles, 1727
----------------------------------------
SNOECK, HENRI AUGUSTE
Worked at Brussels, 1750-1766. Son and pupil of Marc. Succeeded father as violin-maker to the King, 1762. Appointed first violinist in the Royal band, 1766, and subsequently dedicated his life solely to playing and composing. Few instruments known. Style and varnish similar to those of Egidius.
SNOECK, MARC
Worked at Brussels, 1720. Died 1762. Son and pupil of Egidius. Instrument maker to Belgian Court. Described in the directory as faiseur repetitieur et directeur de instruments. An eccentric personage who adopted the pseudonym Brocb. Also ballet-master and composer. Good Amatese modelling heightened by rich varnish.
---------------------------------
Marcus Broch Bruxelles
Au roy David, lan 17
---------------------------------
Label found in a cello - (translated from the French).
--------------------------------------------
This basse (cello) repaired by
Marc Snoeck to show these
envious rivals my address,
here near the Church of Saint-Gery
in Brussels, ancient luthier.
--------------------------------------------
SNYDER, JOHN H.
Worked at Milwaukee (U.S.A.), 1908.
SOBOLL, FRANZ
Born 1794. Died 1837. Worked at Olmtz (Moravia). Violins modelled in facile and masterly manner. Also successful in imparting to them the brightness and clearness of tone essential to solo instruments. Seldom labelled his work. Carried off by apoplexy at the best stage of life.
SOCCOL, PIO
Worked at Agordo, 1868-1873, and at Genoa. Recipient of medal at the London Exhibition, 1870. Guarnerian modelling done with the accuracy of a very skilled hand. Deep red varnish of brilliant hue. Scroll and sound-holes as perfect as necessary. Belly wood splendid in straight grain, accompanied by pretty material for backs and ribs. Responsive and bright tone, of obvious utility to vigorous players. 30, 1930.
SOCCOS, P.
Worked at Venice, 1790. Typical Venetian violins, usually two-piece backs. Dark brown varnish.
-------------
P. Soccos
Venice
1794
-------------
(with medallion-like design on right)
Also branded inside.
SOCHER, HANS
Worked at Fuessen (Bavaria), 1606. Died 1614. Lute maker of considerable renown. Connoisseurs and collectors highly covet these sometimes richly decorated instruments.
SOCKNE, I. K.
Worked at Neukirchen (Saxony), 1772.
SOCQUET, LOUIS
Born at Mirecourt. Worked at Paris, 1750-1780. Repairer etc. to the orchestra of the Academie Royale de Musique.
Made the following charges to the double-bassists of 1771:
1. Repairing a double bass . . . . . . 20 francs
2. Repairing a bow . . . . . . . . 5 francs
3. Supplying one of his own bows . . 10 francs
4. Rehairing a bow . . . . . . . . 2 francs
5. Supplying a covered string. . . . . . 9 francs
6. Furnishing a screw and tip for bow . . 1 franc
Excellence of productivity very variable. Early violins entirely superior to those of later period, and executed with a care that recommends them to the antiquary. Did not restrict himself to any one style in modelling, but his favourite was that of the typically old French, outline and proportions neither broad or long in excess, pretty medium arching, rich brownish red varnish, very handsome wood, and a singing quality of tone, appropriately valued at 40. Certain specimens suggest the Ruggerius, golden brown vatnish, and very pointed corners. Others resemble those of Cappa, orange-brown varnish. Occasionally one of Stainer characteristics, brown-red varnish. Even the Brescian type sometimes attracted him, the scrolls being minutely copied and the brownish yellow varnish well imitated. One or two Amatese outline examples with a rather peculiar abrupt arching also brownish yellow varnish. Those of later period are unquestionably mediocre, and their tonal limitations may be surmised by the price usually realised - 5. Probably not made by him at all but supplied by Mirecourtians. So marked is the divergence of style between the two periods that some authorities believe there must have been two representatives of the name Socquet. At any rate these later period instruments pay no tribute to his memory, some pitiably varnished in the worst possible taste, generally a muddy darkish yellow. Modelling quite different from the early instruments, being flatter and less petite. Violas and cellos, mostly of small pattern - seldom valued beyond 15. Sometimes a moderately nice orange varnish, others brownish yellow, but often a scarcely endurable growling tone on the lower strings, and not free from coarseness in the higher register. If there is any mellowness it is one of enfeebled maturity brought about by various infirmities of thin and doctored wood. We confess ourselves incapable of discovering their utility.
---------------------
Fait par Socquet
Paris en 1750
---------------------
---------------------------------------------
Socquet
Au Gnie de lharmonie
Place du Vieux Louvre, Paris, 1771
---------------------------------------------
(large, with artistic scrolling)
Name branded at button. Shop sign at the Genie of Harmony.
SDERBERG, CARL WILHELM
Born at Gteborg (Sweden), 1876. Electro-metallurgist resident at Christiania (Norway), 1924. Spent several years in the violin workshop of Vlker at Hanover. Produced 26 violins up to the year 1924, then productivity ceased for several years, owing to continual travelling through Europe in connection with his electrical inventions. Many instruments destroyed through dissatisfaction in tone and varnish, problems of wonderful interest to the experimentalist. Modelling either Stradivarian, Guarnerian, or his own. Orange-brown varnish of golden hue.
---------------------------
C. W. Soderberg
fecit
Norvegia 19. . No. . .
---------------------------
SDERBERG, GERD
Daughter and pupil of the preceding. Born at Ljan (near Christiania) 1903. Studied in German and Italian workshops. Beautiful designs most delicately finished in workmanship. Tonal quality quite pure enough to appeal to soloists.
SODERLUND, C. J.
Resident at Vsteras (Sweden). Won silver medal at Stockholm, 1925.
SODERLUND, JOHAN VILHELM
Resident at Solna (Sweden). Won silver medal at Stockholm, 1925.
SODERMAN, FREDERIK
Viola-player in Royal Orchestra at Stockholm, 1770-1790, and fairly proficient amateur maker.
SODERMAN, GOTTFRIED
Born 1885. Resident at Vsterhus (Sweden). Constructed 1,000 lutes and guitars up to year 1946. Also 30 violins.
SODERSTRM, GEORG ARTHUR
Born 1911. Resident at Bromlla (Sweden). Violins, violas and cellos. Most attractive modelling. Reddish brown or yellow varnish.
SOFFRITTI, ALOYSIO (LUIGI)
Worked at Ferrara (Italy), 1860-1896. Splendid outline and rather flat arching. Broad edging not entirely attractive. Belly wood often of wide grain. Golden brown varnish of much suppleness. 25, 1920. Some instruments anti-dated 50 or 100 years. 90, 1960.
SOFFRITTI, CAVALIERE ETTORE (HECTOR)
Son and pupil of A. Constructed first violin in 8th year. Born at Ferrara, 1877. Cremonese masters variously emphasised in superb modelling, completely entitled to the highest commendation. Not only are the designs picturesque, but in masterly handling of varnish he succeeded in realising the aesthetic spirit after which so many have aspired and failed. Perfection of pose enhances neat carving of scroll. Sound-holes distinguished by like admirable qualities. Studiously careful purfling artistry. Golden-yellow and golden-red shades of varnish. Instruments magnificently exemplifying the principles which have been determined by the Cremonese as the canons of art. Recipient of gold medals at Turin and Brussels. First prizewinner at the competition organised by the Saint-Cecilia Academy Administration, Rome, 1923. Honoured with a knighthood, 1925. Died tragically, 1928. Labels all with decorative border. 200, 1960.
---------------------------------
Hector Soffriti filius Aloysj
fecit Ferrariae An. Dom.
---------------------------------
------------------------------------
Ettore Soffritti
Premiato con Medaglie doro
figlio ed allievo del Luigi
Fece in Ferrara lanno 19. .
------------------------------------
SOFTIG, GEORG
Worked at Mittenwald, 1750. Ordinary modelling of Bavarian sehool. Medium arching of pretty graduation, Rather thin in wood which has been chemicalised. Inside work very untidy. Soft tonal quality but rather weak. 20, 1925.
SOHET, J.
Worked at Lige, 1800-1810. Constructively ordinary. Workmanship the same. Varnish throws a little gleam of sunshine ovev excellent wood. Tonal quality quite pleasing.
----------------
Sohet fecit
Leodii, 1805
----------------
-------------------
J. Sohet
Luthier Lige
-------------------
SOLAR, FERANDO GONZALEZ
Worked at Madrid, 1935. Talented maker of violins, bows, and guitars.
SOLEM, E. ANDERS
Worked at Softeland (Norway), 1908.
SOLFERINO, REMO
Born 1882. Pupil of Soffritti. Worked at Mantua until 1940, then moved to Verona. Excellent modelling of various old Italians. Very effective golden-yellow varnish. 85, 1960.
SOLIANI, ANGELO
Born 1752. Worked at Modena. Died 1810. Two models, one slightly arched somewhat reminding of a Guadagnini, and one of higher arching and longer body length. Effective graduating of plates with a nice suggestion of Amati grooving which gives the edging a slight tilt. Purfling very slender and thread-like. Scroll of smallish dimensions, but of very graceful swing and deeply cut. Belly wood generally of medium grain, strong in fibre. Usually two-piece backs of close-figured material, also ribs. Golden-orange varnish with a touch of red - supple and transparent, also a golden amber tending towards brown. Tonal quality moderately powerful, very silvery and clear, and of matured mellowness. One specimen, dated 1790, realised 1,200 dollars in the U.S.A., 1928.
-------------------------
Angelus Soliani fecit
Mutinae, 1789
-------------------------
(bearing the Sign of the Sun in right-hand corner)
Sometimes branded. 450 to 600, 1960.
SOLLNER, FRANZ JOSEF
Born 1848. Pupil of Lembck at Vienna. Worked at Budapest and other cities. Established own workshop at Tachau (Bohemia), 1876. Engaged in London, 1888; again at Budapest, 1890 and returned to Tachau, 1901. Splendid modelling after the Stradivarian, Guarnerian, and Maggini. Pretty spirit varnish of own formula, reddish brown shade mostly favoured. Good and well figured wood. Tonal quality rather small but very even, round, and mellow. Instruments deserving of wider recognition.
-----------------------
Franz Jos. Sollner
Tachau, 1902
-----------------------
SOLMAN, FRIEDRICH
Worked at Augsburg (Bavaria), 1792-1804.
SOLOMONS, MORRIS H.
Born in Lithuania, 1881. Studied music, jurisprudence, chemistry, languages, engraving, engineering, and painting. Settled at London (Canada), 1906-1928. Composed five fantastic and romantic Tone pieces for organ or orchestra. Author of a book titled Ethics and Briefs of Human Nature. Allotted considerable time also to wood-carving and became interested in violin construction. Went enthusiastically into extensive delving to find the secrets of Stradivarius, Guarnerius, and Stainer; and discerning the possibility of bringing back to life once more the so-called lost art, launched out into making violins, 1918. Created his own model - designated The Cosmopolite - a composite development of all models. Claimed that it was superior to any other, a statement founded on tests and comparisons with older instruments. Artistic outline, and a system of true proportion as minute and accurate as a watch. Workmanship exhibits undoubted aptitude. Tints of varnish ranging from yellow to deep brown, revealing the beauty of wood, this latter chosen with the utmost deliberation. Formula of varnish remained his secret. In tonal quality he tried to impart brightness and fleetness with penetrativeness and silvery sweetness. Also asserted he had such control of the art that he could produce any tone as desired. Instruments that maintain a steady acceptance throughout the dominion.
-------------------------------------------------
The Cosmopolite
Russian Violins
Originated 1908 and perfected 1918 by
H. M. Solomons, 165 Albert St.
London, Canada.
-------------------------------------------------
(reproduced from an engraved metal plate)
Design of a violin (in centre) surrounded by an oblong, and the words authoritatively pronounced the worlds best. Sometimes the nom-de-plume Hirsey Spreberg replaces H. M. Solomons. Upright, oval shaped label (in blue) for instruments remodelled or repaired.
-------------------------------------------------
Cosmopolite Violins, London, Canada
-------------------------------------------------
With large S curled round an anchor.
Inventor of a machine for exact reproductions of old violins, composed of a fixed rotating tool against which a frame (carrying the wood to be carved) can be moved in any direction. A second frame carries the violin chosen to be copied, and can be moved against a fixed pointer. On moving the violin against a fixed pointer so as to follow its lines, the frame (carrying the wood to be carved) follows this movement exactly with result that the tool reproduces the exact form of the model. The whole thing is to know if the old instruments rely solely in their proportions, and if an exact reproduction of their dimensions and form is sufficient to make a good instrument - type of machine by no means new - often used for engraving purposes.
SOMER, NICOLAS
Worked at Paris, 1725-1765. Dean of the Luthiers Guild, 1749. Produced a few violins of average merit in workmanship and tone. 10, 1921.
SOMERS, LAURENT
Worked at Antwerp (Belgium), 1780-1784. General aspect of high modelling and pronounced edges not impressive. Sound-holes too slanting. Wood or varnish not especially attractive. Tonal quality quite dull.
-------------------------
Laurentius Somers
tot Antwerpen 1781
-------------------------
SOMMER, EGYD
Worked at Absroth, 1880-1895. Specialist in making small basses.
SOMNY, C.
Worked at Mirecourt, 1840-1860. Broadly proportioned modelling and medium arching. Scroll rather neatly managed. Sound-holes too precipitous and too widely opened to be attractive. Dark brown varnish quite dull. C. Somny branded in square lettering underneath lower part of belly.
SOMNY, JOSEPH MAURICE
Son and pupil of Somney-Ouchard. Born at Mirecourt. Worked for Hill & Sons at Hanwell, 1888-1910. Established own workshop at Boston Road, Hanwell, 1911. Later opened premises in George Street, London. Died 1931. Capable of the finest work but, had many lapses into carelessness, mostly caused by illhealth. Cremonese modelling generally, but always with a slight touch of originality sometimes to be deplored as well as praised in other instances. Some specimens have peculiar arching, an abrupt drop halfway between centre and sides. Others have deep ribs and strange arching. Did not always exercise judicious judgement in selection of wood. Varnish often of a dull yellow of hard quality, but some examples have been treated with one of an orange-red hue of fair transparency. Tonal quality invariably strong and brilliant, but often uneven and without sympathy. 60, 1960.
-----------------------------
Made by
J. M. Somny
Hanwell, London, 1912
-----------------------------
(written and signed J.M.S.)
------------------------------
Made by
J. M. Somny
90 George Str. Baker St.
London. W. 1914
------------------------------
SOMNY-OUCHARD, J.
Worked at Mirecourt, 1860. Died 1905. Very ordinary modelling not enhanced by refined workmanship. Brownish yellow varnish. Various models to meet the demands of dealers.
---------------------------
Copie de V. Pedrazzi
par
J. Somny-Ouchard
Mirecourt 1880
---------------------------
(written)
SONCINI, FERNANDO
Born 1891. Ceased working 1935. Individualistic modelling, workmanship not especially refined, excellent varnish. Nearly all instruments exported to the Argentine.
-----------------------------------------
Fernando Soncini
27-9-1930
Reggio Emilia. Cadelbosco Sopra
-----------------------------------------
SONDERMANN, MARK G.
Worked at Rendsburg (Prussia). Ordinary workmanship.
-----------------------------------
Marcus Gabriel Sondermann
Rendsburg. Ao. 1796
-----------------------------------
SONNTAG, H.
Bow-maker at Raun (Saxony), 1930.
SOOMER
see DE SOOMER.
SRENSEN, K. R.
Born at Horsens (Denmark), 1914. Pupil of father, Sren S. Worked in Germany and Paris. Returned to birthplace to assist his father, 1940. Won gold medal at Stockholm, 1950. Skilful copies of standard models. Oil and spirit varnish - dark brown, reddish brown and golden brown.
-----------------------
Kaj Ruil Sorensen
Violinbygger
Horsens
-----------------------
Branded Kaj Ruil Sorensen Horsens in block letters.
SORIOT, D.
Instruments made at the Labert Factory, Mirecourt, 1890-1930. Clear amber varnish. Signed Soriot.
--------------------
D. Soriot
Luthier D.S.
Ecole Franaise
--------------------
(also bearing a shield)
SORIOT ET DIDION, DABE
Worked at Mirecourt. Well-made class of trade instrument. Workmanship tolerably well finished. Scroll and sound-holes nicely positioned. Generally one-piece backs. Branded Soriot et Didion.
SORREL, FRANK
Amateur. Worked at Wesley (Essex), 1890. Went to Great Bentley, 1900. Died there 1927. Passed evenings making exaggerated Stainer models. We may admire his spirit of enterprise, but not the result of it. Curves of outline on right side not in conformity with the left, scroll without its eyes, sound-holes slightly curving towards the bridge before the final turn, no purfling, and absurdly bulgy arching.
--------------------------------
Made with my own hands
from wood cut by myself
F.S. at G.B. 1923
--------------------------------
(written in red ink)
SORSANA, JOSEPH
Worked at Cremona, 1730-1735. Pupil of Stradivari. Modelling entirely after the grand pattern of his teacher, with no trace of anything Amatese, but not without certain slight traits of originality. Very decided flat arching. Eight inches across lower bouts. Ribs 1-1/4in. at bottom, slightly decreasing at top. Edging splendidly rounded. Accurate purfling placed well away from the edge. Belly-wood of wide vein, with red reed running vertically through the substance. One-piece back of exceedingly handsome material, the figure slanting downwards from left to right. Ribs of same material, figure also at an angle. Sound-holes nearly as graceful as their prototype. Orange varnish of lovely hue, transparency and texture. Tonal quality of fine fullness and evenness, together with a suave purity and mellowness. 600, 1960.
---------------------------
Joseph Sorsana fecit
Cremona Sub discip.
Ant. Stradivarii, 1732
--------------------------
SORSANO, SPIRITO
Worked at Cuneo (Piedmont), 1714-1736. Reminiscent of Cappa and Amati. Not triumphs in design or workmanship, yet there is a very acceptable naturalness. Contrasting with authenticated specimens are many trade violins spuriously labelled with name of Sorsano, instruments entirely commonplace and the essence of barbarism. 450, 1960.
--------------------
Spiritus Sorsano
Coni, 1717
--------------------
---------------------
Spiritus Sorsano
fecit Cunei 1736
---------------------
(decorative border)
SOTTLER, JOSEPH KARL
Born 1800. Worked at Graslitz. Died 1840. Typical examples of Bohemian modelling, with its medium size proportions and nicely graduated arching. Excellent wood treated to capable workmanship. Brown varnish, moderately transparent. 18, 1927.
-------------------------------
Joseph Karl Sottler, Gei-
genmacher in Grasslitz
-------------------------------
(German lettering, decorative border)
Labels seldom dated, sometimes name given as Sattler.
SOUKAU, WENZEL
Worked at Vienna, 1827-1865. Violins not particularly meritorious. Guitars highly praised.
-----------------------------------
Wenzel Soukau
Geigen und Gitarrenmacher
Wien. 1854
-----------------------------------
Much larger and differently worded labels for guitars.
SOURLIER
Worked at Mirecourt and Paris, 1820-1830. Ordinary Mirecourtian style. Fairly broad proportions and slight arching. No special liberality of varnish. 10 instruments which can never secure much higher value.
SOUTHGATE, W.
Worked in Birmingham around 1890. Made violins and small violas.
SOUZA
see DE SOUZA.
SOWERBY, A. L.
Worked in Manchester, 1890. Good modelling and varnish.
SPALLETTI, A.
Worked at Macerata (Italy). Known for a few really fine double-basses.
------------------------------------
Antonio Spalletti
fece in Macerata lanno 1865
------------------------------------
SPALNER, J. G.
Worked at Neisse (Silesia) 1732.
SPAMPINATO, GIUSEPPE
Born at Catania, 1916. Worked at Turin, 1947. Excellent modelling, spirit varnish. Bright and equal tonal quality. 85, 1960.
SPANG, PETER OLOF
Born 1884. Amateur at Vattrangsby (Sweden).
SPECHT, BERTHOLD
Born at Horschlitt (near Berka-on-Werra), 1879. Produced first instrument, 1907. Set up premises at Jena (Thuringia), 1921, and soon established a wellspread name for art violins and skilful repairing. Completed 50 violins, 10 violas, and 10 cellos up to the year 1930. Modelling based on slightly modified Stradivarian or Guarnerian principles. Golden yellow to golden brown shades of varnish. Outline and proportions splendidly harmonised. Sound-holes and scroll executed in elegant style. Tonal quality sufficiently rich to immediately attract the soloists attention. 90, 1960.
--------------------------
Gebaut v. B. Specht
Jena 1925. No. 32
--------------------------
SPEIRS, S.
Born 1809. Violinist and conductor at Aur. Died 1870. Instruments generally too thinly wooded.
-----------------------
Stewart Speirs
Maker. Ayr. 1862
-----------------------
SPELLS, JOHANN
Worked at Styria, 1825. Little known.
SPELTA, OSVALDO
Resident at Lucca, 1937. Violins and violas.
SPICER, JOHN
Worked in London, 1650-1680. Probably a dealer in viols, violins, and guitars, who employed several workmen.
-----------------------------------
John Spicer in Crown Court
in Rvssel Street 1667 - His
Half Penny
-----------------------------------
(with design of Crown)
SPICKER, ADOLPH
Established at Cincinnati, 1914-1926.
SPIDLEN, FRANTISEK F.
Born at Sklenarice (Bohemia), 1867. Worked for Metelka and Vitcek at Prague. Migrated to Russia, and opened premises at Kiev, 1894. Bought the business of Salzard at Moscow, and succeeded him as maker to the Conservatoire. Returned to Prague, 1909. Died 1916. Models vary in kind as well as in degrees of merit, but he had preference for the Stradivarian and Guarnerian. Productions completely artistic. Careful and conscientious workmanship. Backs always of the prettiest material. Rich brownish shade of varnish apparently prepared from exclusive formula, and seemingly without the slightest deteriorating ingredient. Strongly round tonal quality frequently praised by Russian and Bohemian soloists. Name branded on back. 80, 1960.
-----------------------------
Franciskus F. Spidlen
fecit Prague Anno 1912
-----------------------------
SPIDLEN, OTAKAR
Son and pupil of the preceding. Born at Kiev, 1896. Succeeded to fathers establishment in the Jungmannowa at Prague, 1916. Made several edifying excursions into notable transepts of the Italian models. Accuracy of proportions and neatness of workmanship completely exemplified. 70, 1960.
-----------------------------------
Otakar F. Spilden
zhotovil v Praze roku 19. . .
-----------------------------------
SPIDLEN, P. O.
Son of O. Born 1920. Splendid replicas of a Lupot or J. B. Vuillaume. Golden red varnish artistically applied. 70, 1960.
----------------------------------
Premysl Otakar Spidlen
Faciebat Pragae Anno 19. .
----------------------------------
(with initials double-circled)
SPIEGEL, JNOS
Born at denburg (Hungary), 1876. Worked with Pilt and Schunda. Established at Budapest, 1898. All the outstanding characteristics of the Guarnerian model done in a masterly manner. Enlightened policy has led to a beautiful application of rich varnish.
--------------------
Spiegel
Jnos
Budapest, 1912
--------------------
(written)
SPIJKER
see SPYKER.
SPILLER
Worked at Mittenwald, 1750. Rather high bellied, similar to Klotz type. Wood thinned and subjected to chemical heat. Narrow edging. Brown varnish. Labels not dated. 10, 1928.
SPILMAN, DORIGO
Worked at Padua and Venice, 1680-1705. Cello with reddish brown varnish, body length 74 cm; upper bouts 38; lower 48; ribs 13; preserved at Vienna Museum.
--------------------
Dorigo Spilman
--------------------
(written)
SPISS, JOHANN
Amateur at Zell (Tyrol). Died 1865. Made stringed and woodwind instruments.
-------------------------------------
Johann Spiss zu Zell am Ziller
in Tiroll. 1847
-------------------------------------
SPITZ, JSSEF
Born 1900. Worked at Pcs, and Budapest, 1925. Classical models, first-class workmanship. 60, 1960.
SPLLNER
see SPALNER.
SPORLEDER, MARTIN
Violinist. Resident at Berlin, 1949. Violins of good style and artistically varnished.
SPORN, PAUL V.
Born at Markneukirchen, 1883. Worked at Erlbach, 1906. Conscientious work.
SPRANGER, CARL WILHELM
Worked at Klingenthal (Saxony), 1772. Violins constructed in the facile manner associated with his countrymen. Thoroughly well made and not chemically tinkered with like so many. 65, 1960.
SPRANGER, JOHANN GABRIEL
Worked at Schneck and Klingenthal, 1734-1764. Cautiously built specimens of excellent design. Pretty yellowish varnish. 40, 1960.
---------------------------------
Johann Gabriel Spranger
Volinmacher in Schoeneck
me fecit Anno 1734
---------------------------------
SPRATTE, R.
Specimen bearing this name sold at Putticks in London, 1901.
SPRENGER, ADOLF
Born at Meu-Ulm (Bavaria), 1879. Son and pupil of Anton (2). Worked with Zach at Vienna, also employed in London and Paris. Went to America and spent several years at New York, Philadelphia, and Chicago. Returned to Stuttgart 1907. Gold medallist and maker to the Conservatorium. Superfine modelling after various Italian masters. Violins, violas and cellos eagerly sought after. Early instruments varnished with a spirit preparation, later ones oil. Persistently adhered in all structural details as set up by the old makers, and wisely discarded all licence tending to endanger the strength and long tonal life of the instrument. Also made guitars and lutes, each personifying true artistry. In later years exhibited splendid imitations of certain historical instruments such as the arpeggione and various viols. Acquired considerable reputation as a guitar player. 90 (1960).
-------------------------
Adolf Sprenger fecit
Stuttgart anno -
-------------------------
(bearing the Wrtemburg Coat-of-Arms, also initials A.S. and the Grecian Cross within a circle).
SPRENGER, ANTON (1)
Worked at Mittenwald and Wrzburg from 1820. Talented maker who produced several splendid violins and violas, most of them possessing to a great extent structural beauty and fine tonal quality. Richly covered with a transparent reddish varnish. 120, 1960.
SPRENGER, ANTON (2)
Born at Mittenwald, 1833. Pupil of Hornsteiner. Worked at Ulm, Munich, Vienna and Biberich. Settled at Stuttgart, 1870. Maker to the Court. Died 1900. Stradivarian and Guarnerian modelling, all details carried to a high point of artistry. Beautiful oil varnish of various shades on best specimens, cheaper grades have an excellent one of spirit. Tonal quality often refreshingly sonorous. Speculated in tone production - invented a tone screw device to improve tone of defective instruments - horizontal tube introduced inside longitudinally, reaching from end to end of body and (about the middle) fixed to a wooden tone block, which by means of screw, could be pressed against the top plate and so increase tension of strings. Had popularity for several years, and awards from seven European exhibitions, then people began to view it as the mere dream of a speculating intellect, and allowed it to pass into the land of the forgotten.
--------------------------
Anton Sprenger fecit
Stuttgart, anno 1881
--------------------------
SPRENGER, AUGUSTIN
Born at Nrnberg, 1841. Died 1895. Son and pupil of Carl. Established own premises in native town, 1878. Players have repeatedly expressed high opinions of his violins and guitars. Some violas have fanciful heads.
----------------------------
AugustinSprenger
Instrumenten fabrikant
Nrnberg
----------------------------
SPRENGER, CARL BONIFACIUS
Born at Mittenwald, 1805. Died 1875. Worked with Vauchel at Mayence before settling at Nrnberg. Had correct taste and clear judgement when he properly consummated, particularly in the wood and manner of varnishing, the latter being an oil formula of his own. Occasionally used a spirit varnish. His cellos confidently appeal to vigorous virtuosi.
SPRENGER, EUGEN
Born at Stuttgart, 1882. Youngest son of Anton (2). Trained by father, worked for several years with brother Adolf, also in Munich, Switzerland, and England. Established at Frankfort-on-Main 1907. Worked with unremitting energy to achieve the finest art results. Modelling well-nigh perfect, also versatile in outline and arching. Everything culminating into beauty by masterly varnishing. Tonal quality of fine strength, having an assured future maturing to ideality.
------------------------------------------------------
Eugen Sprenger
Lauten und Geigenmacher in Frankfurt-a-M.
------------------------------------------------------
SPRENGER, FRITZ
Born 1879. Worked with Zst at Zurich. Established at St. Gallen (Switzerland), 1917. Modelling after examples of Maggini, Stradivarius and Guarnerius, to which he added, somewhat unobtrusively, a few originalities. Workmanship immaculate in point of refinement. Golden-yellow, golden-brown, and reddish-brown oil varnish of own preparation. Marginal ornamentation frequently characterises his instruments, and gives a charming effect. 80, 1960.
--------------------------------
Fritz Sprenger
S P St. Gallen. anno 19. .
--------------------------------
(SP within a diamond)
SPRENGER, JOHANN
Worked at Mittenwald, 1879. Employed largely by Neuner and Hornsteiner. Name and year usually written with lead pencil on inner side of belly.
SPRENGER, JOSEF FERDINAND
Born 1846. Son and pupil of Carl B. Worked at Nrnberg. Died 1914. Modelling after the Italian masters. Generally a large and flat pattern, often rather striking and impressive, but occasionally quite the reverse. Scrolls frequently very robust and autocratic, but occasionally tinged with an ungraceful stoutness. Workmanship always greatly finished. Used the oil and spirit varnishes of father.
Some very useful bows bear his name.
SPRENGER, MATHIAS
Worked at Carlsruhe, 1840. Settled at New York, 1846. Despite the constitutional similarity of all instruments made in the Mittenwald style (the town of his apprenticeship), he accomplished much that appealed to the best players in America.
---------------------------
Matteo Sprenger
fece a Carlsruhe 1841
---------------------------
(written)
SPRINGER, FRIEDRICH
Worked at Mombach near Mayence (Germany), 1908.
SPRINGER, N. A.
Amateur. Resident at Pasadena (California), 1923. Removed to Washington 1927.
SPRINZ, A.
Factory at Berlin 1847-1920. Several grades of commercial violins, cellos and basses.
SPYKER, GOSEWIJN
Worked at Amsterdam, 1770-1812. Amatese outline with original arching. Slender sound-holes, beautifully shaped. Golden-reddish varnish, but more often a golden-yellow of softer texture than usual with the Dutch. Noble scroll, well flamed backs. Few specimens. Violas of large dimensions for that period, excellent work. Purfling finely set. Few cellos of Strad modelling, clear brown varnish.
---------------------------------
Gosewyn Spyker
Musyk Instrument Maaker
in Amsterdam A. 1779
---------------------------------
SPYKER, JACOBUS
17th-century maker in Amsterdam. Amatese model slightly modified.
SQUIER, JEROME BONAPARTE
Born in Ohio State, 1838. Died 1912. Worked at Boston (Mass.) Productivity realized 600 instruments. Made remarkable experiments to arrive at the Italian tonal quality. Very patient and very enthusiastic in his art. Considered to be one of the foremost of American makers. Manifested the greatest ability when a youth. Built instruments having the mark par excellence all over them. Produced an amber varnish from own formula which was pronounced a paradisical hue, generally a golden-brown of magnificent lustre. Celebrated for his Apostle violins, a series of twelve, each named after an apostle. Also named some examples as the George Washington and the Abraham Lincoln. Greater number conceived on Stradivarian lines, notably that of the Alard Strad. Tonal quality brilliant and clear. 50, 1920.
SQUIER, VICTOR CARROL
Son and pupil of the preceding. Produced first instrument 1883. Established a workshop at Battle Creek (Michigan), 1890. Employed several assistants 1926. Specialised in producing high-grade copies of the Messie and Earl Strads. Golden-brown or red-brown varnish.
----------------------------------------
Victor Carroll Squier
No. 695. Maker
Anno 1928. Battle Creek. Mich.
---------------------------------------
(monogram circled)
SSEMENOV
Established at St. Petersburg, 1880-1890. Little-known work.
STADLER, CASPAR
Born at Fuessen (Bavaria). Worked at Munich 1705-1735. Member of orchestra at the Bavarian Court. Modelling does not rank high in any particular gracefulness, arching very pronounced. Dark brown varnish not especially pleasant to the eye. Scroll lacks dignity of pose. Tonal quality will not meet the exigencies of modern technique, neither will the amateur be altogether satisfied with its semi-purity.
----------------------------
Caspar Stadler Traban
in Mnchen Ao. 1714
----------------------------
---------------------------------------
Kaspar Stadler Lauten
und-Geigenmacher in Mnchen
1735
---------------------------------------
Also a performer and teacher in a small way. Apparently a satellite (according to the work Traban) of a church or chapel.
STADLER, DR. HANS
Amateur. Resident at Munich 1924. Pupil of Hermann Glassl in the same city. One who conscientiously strove to accomplish something worthy of acceptance by the professional. Succeeded in 1930 after six years fluctuations. Destroyed all creations which failed to reach the high standard he was striving to reach.
STADLER, JACOB
Guitar maker at Vienna. Also made violins or ordinary type - brown varnish.
STADLMANN, ANTON
Worked at Vienna, 1750-1783. Some writers say that he resided somewhere in Bohemia and labelled his instruments as though made at Vienna, as well as antidating them. Modelling has a few aberrations from perfect curvature and general refinement. Nevertheless they look fairly well, and quite substantial constructively. Yellow-brown varnish, certainly effective.
----------------------
Antoni Stadlmann
Von Wien 1783
----------------------
-----------------------------------------
Anton Stadlmann
Violinmacher in Wien, anno 1721
-----------------------------------------
STADLMANN, DANIEL ACHELEUS
Born 1680. Died 1744. Worked at Vienna. Indebted to him for many fine copies of the Stainer model, no puerility of absurd arching, and no extravagancies in sound-holes. Design rather broadly proportioned. Medium arching, sometimes belly having higher arching than back. Belly-wood of choice quality, but seldom otherwise than of medium or wide grain. Top plates occasionally worked too thin. One-and two-piece backs nearly always of pretty figure, and not infrequently of birds-eye maple. Mostly a deep yellow varnish (possibly amber) of splendid appearance and texture; also a dark reddish-brown and an orange-red. This varnish gets nearer to the Italian suppleness than any other Austrian. Tonal quality never very powerful, but is round and even, as well as being warmly mellow. 50, 1930. Produced also a few examples with double purfling. Austrian orchestral players particularly enamoured of these instruments.
---------------------------------
Daniel Achatius Stadlmann
Lauten und Geigenmacher
in Wienn. An 1734
---------------------------------
(German lettering)
Other labels with similar wording in ordinary square lettering. D.A.S. occasionally branded. Name sometimes given as Stadelmann. Many trade instruments fabricated with this name. 85, 1960.
STADLMANN, JOHANN JOSEPH
Son, pupil and successor of the preceding. Born 1720. Died 1781. Worked at Vienna. Maker and repairer to the Viennese Court. Had the family predilection for choosing the Stainer. Instruments often of extreme arching - fuller than those of father, also a few more Stradivarian. Workmanship maintains the excellence of his predecessor. Particularly well-cut scroll, though without originality. Dark brown varnish of no astonishing intensity, and on some examples its shade has deteriorated to nearly black. Other instruments have backs and ribs of dark brown varnish, while the belly has a clear reddish-yellow not subjected to any corrosiveness. Tonal quality often quite mellow, but also nasal, and of slight carrying power though sounding moderately loud under the ear. 40, 1932. Also cellos rather sought for by the Austrians. 70, 1960.
------------------------------
Joann Joseph
Stadlmann
Kayserl: Knigl:
Hof Lauten und Geigen
macher in Wien. 1771
------------------------------
(with design of the Austrian Double-Eagle in centre)
STADLMANN, JOSEPH
Worked at Vienna 1805-1808. Possibly a son of the preceding. Seems to have put the finishing touches to the several instruments left by predecessor. Some of Stainer type and of medium arching, others Stradivarian. Pretty backs and nicely veined tops. Boldly cut scrolls without great refinement. Reddish-brown varnish rich in texture. Moderately strong tone and of satisfactory mellowness. 60, 1960.
----------------------------------
Joseph Stadelmann in Wien
Lauten & Instrumenmacher
ao 1807
----------------------------------
STADLMANN, MICHAEL IGNAZ
Son and pupil of Johann Joseph. Born 1756. Died 1813. Worked at Vienna. Maker and repairer to the Viennese Court. Also one of the principal violinists in the orchestra at the Royal Chapel, 1799-1813. Generally adopted lower arching than predecessors, although some few instruments have the inflated Proportions of the Stainer. Many violins excellently designed on Stradivarian principles, generalising and skilfully representing in broad masses the dignified graces of the original. Conceived the scroll with an artistry in which several of his native contemporaries were confessedly deficient. Also not failed in the imitations of the sound-holes. Very transparent red-brown and yellow-brown shades of varnish, causing the wood flames to shimmer with a pretty golden (dark and light) glossiness. Sometimes a lions head substituted for the scroll. Tonal quality often clear and resonant. Also reasonable to expect that a person who can correctly delineate such pretty violin forms, should succeed with the same felicity in the representation of the viola form, all having well chosen and non-exaggerated touches. Produced several fine cellos, body length of 30-1/4 inches. Tops sometimes of a rarely fine piece of spruce, the grain being narrow at the centre and widening towards the edge. Backs, generally of two pieces, showing a beautiful softly marked and almost even graining in the curly maple, the figure slanting slightly downwards from the centre joint. Ribs well matching the backs. Generally of a slightly under-medium arching. Suitably designed scroll often of plain material. Rich golden-brown varnish plentifully applied. Tonal quality of singing mellowness, rather good penetrative power, and certainly very responsive. 120, 1960.
------------------------------
Michael Ignatius
Stadlmann
Kayserl: Knigl:
Hof Lauten und Geigen
macher in Wien 1782
------------------------------
STAINER, ANDREAS
Worked at Absam, 1655-1690.
STAINER, CARLO
Tyrolian who worked in Northern Italy.
--------------------------------
Rivisto e ristaurato da me
Carlo Stainer. A. 1735
--------------------------------
STAINER, JACOB
Born at Absam near Innsbruck (Tyrol), 1621. Early life somewhat surrounded in mystery, and so brought garlands of romance to be woven round his name by the pens of his commentators. Conjectured that he travelled in his 17th year to Cremona to study with the Amatis, also that he married the daughter of that family, and afterwards lived at Venice, but much of this tale weaving has long since been exploded. It seems more likely that his young years were occupied as a kind of shepherd wandering through woods and fields, thus becoming interested in trees, and gradually imbued with the ambition to build instruments. During some part of this early period he had lessons in music and violin playing from Daniel Herz (a local organ builder), to whom he was apprenticed as an assistant in the woodwork, but had to relinquish the pursuit as the close confinement was not conducive to maintaining good health. Hence his subsequent open-air occupation. In the local woods he had many opportunities of gaining insight into tree properties. Daily he wandered through the neighbouring labyrinth of trees, tapping this and that one, with a little hammer, in order to discover their powers of resonance. Other times he watched the woodmen felling timber, and listened for and tried to fix the pitch of the note that resounded as the blocks struck the earth and rocks. Throughout life he steadfastly retained his fastidiousness in choosing the exact material for his particular purposes, took precautions to study the rings which are yearly added to the stem of the tree, always discarding pieces with the rings too close or too far apart - satisfied himself only with the happy medium, regularity of fibre, etc. Produced first bunch of instruments in 19th year. Soon travelled to the various market fairs in the vicinity, often rewarded with 30 gulden for each specimen. Married Margerethe Holzhammer, 1645, the result of the union being eight daughters and one son (the latter dying in infancy).
Travelled through Austria, 1648, and worked for some time at Kirchdorf. Returned to Absam, and enjoyed the privilege of a command from the Archduke Ferdinand Carl at Innsbruck to be principal maker and repairer to the Court orchestra, as well as a playing member, 1658. Here he had golden opportunities of carefully scrutinising the Cremonese instruments belonging to the Italian players engaged by the Archduke. Appointed maker, also personal attendant etc. to his Majesty the Emperor Leopold I, 1669. During these years he apparently prospered financially, but soon afterwards commenced his unfortunate fall into various distracting troubles. Had serious domestic worries which upset the complete absorption to his art, gradually allowing himself to get into money difficulties, and made little or no effort to extricate himself. Imprisoned for participating in the Lutheran movement, 1669, but released the following year. Worry and personal indifference played havoc with his constitution and ultimately drove him to the profoundest melancholy, which culminated in madness and death, 1683. Wife and daughters were left in abject poverty and were sheltered in the Poor-House. Wife died in 1689, which chronologically upsets the fictitious romance so widely circulated that in consequence of the grief occasioned by her demise, he withdrew from public life and became an inmate of a Benedictine Monastery, where (according to traditional imagination), he constructed the twelve Elector violins which he presented to the respective Electors with suitable inscriptions, etc. Even if this story could have been founded on some stratum of truth and that the violins really existed, where have the inscriptions disappeared to? Just past the Church at Absam is the Stainer-Grasse, and there stands the picturesque chalet formerly the residence of the violin maker. On the front is affixed a tablet bearing the following inscription:
---------------------------------------
In diesem Hause
lebte einer Kunst
Jakob Stainer
Der Vater der deutschen Geige
Geboren zu Absam 14 Juli 1621
hier Gestsorben 1683
---------------------------------------
On the south side of the house, under the projecting eaves, is a balcony or loggia, on which he stored and ripened his wood, and where he made many instruments when the weather conditions permitted. We can easily imagine the happiness he frequently experienced during the summer months, sitting at the substantial workbench living and absorbed in his art, momentarily allowing his eyes to wander round, watching the freshness and sparkle of the morning sun appearing over the towering distant hills, the edges of the clouds forming a gloriously colourful scene, the foliage of his garden trees, roses, and other flowers, and his pipe, which was seldom away from his lips. Of relics concerning Stainer, the house is now unfortunately bereft, except for the bench which lies neglected in an upper room. Stainer was the originator of the Tyrolese school - highly arched violins with a sort of table-land central ridge, a form having no association or conformity with the Cremonese, a form he very rarely departed from, and even then but very slightly. He had a profusion of copyists, good and bad, in all countries except Italy, and it is not easily determinable why so many were attracted to a model obviously opposed to the free emission of a finely-strong tone. Hundreds of instruments not having much affinity with the Stainer characteristics except being pot-bellied have been attributed to him by the multitude. Had numerous pupils, Mathias Albani, Aegidius Klotz, and Christoph Klingler. Many used a faked Stainer label when one of their instruments turned out especially successful. The most noteworthy later period imitators were Stadlmann of Vienna, and Leopold Widhalm of Nrnberg. Inferiority in size and structure is almost always accompanied by inferiority in tone and relative usefulness. It must therefore be expected that the highest endowments are only possessed by those instruments that are noblest in external condition and form. Stainer violins, of none too elevated a tone, are not superlatively graceful in outline or arching, nor are there any special advantages associated with them, but at any rate, they are the result of an entirely independent genius who strove to improve on predecessors efforts, and to create something that the world would for ever recognize as his. But, in striving for originality he missed certain tonal elements, yet, his semi-tortuous pattern (viewed in conjunction with the Cremonese) was admired for scores of years; makers, discriminate enough in matters of varnish and wood, copied it with pride, and purchasers flocked to the workshops. We can forgive a noble eccentricity, often standing alone in its unusual beauty, but we cannot understand Stainers artistic genius remaining content with the somewhat primitive, if not semi-barbaric, abrupt arching, a discrepancy nearly always likely to end in a lamentably thin tone after a certain number of years have passed by. It is a perplexing argument to follow the mazes of human labyrinths, and it adds to our confusion when attempts are made to reason things out, and we have no recourse but wonderment that this naturally ingenious maker (and a capable violinist), could not foresee the far future of his creations. Apart from the specific modelling no adverse criticism can be levelled at any single little bit of workmanship.
Productivity fairly prolific. Adopted three types of modelling - small, medium, and large, each constructed on entirely different mathematical principles to those of the Amatis. Measurements of the large and best model - body length about 14-1/8 inches; upper bouts 6-1/2; lower 8. Height of belly where the bridge stands, equally maintained for half the length of the instrument to the lower or broad part under the tailpiece, where it then depresses to the edge. Precisely similar under the finger-board towards the neck. Breadth of this raised portion is about the same as that of the bridge itself. This tableland is very thick in wood, stands very high, and falls abruptly near the sides, very noticeable in the vicinity of the sound-holes, so that when one places the instrument in a horizontal position and peers through the right one, the left will come into view. Belly arching often more pronounced than that of the back, and there is no beautiful graduation at any part. Thickness of wood not worked out in a circle, but in the form of an ellipse, the longer axis being in the direction of the length of the instrument. Thicknesses, linings, dimensions, and blccks all perfectly calculated according to his peculiar ideas - no element of guesswork whatsoever. Narrow purfling placed near the edge which is artistically thrown-up a little and gives a great touch of individuality, general appearance of the edge personifies strength and roundness. Sound-holes shorter and straighter than the Cremonese, with perfectly circular upper and lower (rather pronounced) curves - admirable conceptions. Small scroll, broad in front and rather short, finely shaped, smoothly carved, but insignificant looking in relationship to the general build of the instrument. Some rise freely in between sweeps of the peg-box leaving a large intermediate space between this and the head, He frequently indulged in relics of the past by substituting sculptured heads, favouring the lions or dragons head, also human and other heads, probably reproductions of the heads and crests of the patrons for whom he executed certain demands. At Gleirsch he found large quantities of a remarkable wood from a tree called Haselfichte, and this warm-looking hazel pine furnished the bellies for the majority of his instruments - a beautifully acoustical material of strong but perfectly straight fibre, narrow and wide. Backs and ribs invariably of the gorgeously flamed maple. Necks especially treated to pretty material. Remarkably fine varnish, approaching near to the Cremonese in brilliancy and transparency, of a golden-red (often rosy) shade, now sometimes deepened to a rich mahogany tint. Impressed with the beauty of the Italian instruments subjected to his inspection at the Royal residence, he most probably obtained the recipe or ingredients from Venice or Cremona. Certainly it is un-Tyrolean, and deserves the widely expressed panegyric it has always received. Tonal quality of his small and mediumsized instruments often nasal, thin, and shrill. That of the larger size, silvery and crystal clear on the E string, a mixture of oboe-clarinet tone on the A (in other words - a peculiar sharpness tempered by a slight warmth), deep and sonorous on the D and G. Never of a robust nature, moreover the G string of a few specimens is painfully thin and twangy. Genuine labels mostly always in manuscript (sometimes neat caligraphy, sometimes the reverse), and very seldom printed. Text generally as follows:
------------------------------------
Jacobus Stainer in Absom
prope Oenipontum fecit 1663
------------------------------------
Oenipontum is Latin for Innsbruck. No name in the violin realm has been more falsely tampered with, some labels being an absolute travesty of the original with regard to the wording. Other labels, printed in beautiful German lettering, have been inserted by unscrupulous dealers within any highly arched instruments that bear the slightest similarity to the original. Owing to the one-time uncertainty of Stainers year of death many imitations have been post-dated 1690 to 1720. Violin in the collection at the Brussels Conservatoire bears the following forgery -
-------------------------------------------
Jacobus Stainer Filius
in absam prope omni pontum 1558
-------------------------------------------
Several genuine Stainers unlabelled. Connoisseurs Voigt, Vuillaume, and Lentner have asserted that they have seen the following -
------------------------------------
Jacobus Stainer
in Absom prope Oenipontum
fecit Cremona Mora
------------------------------------
but it has never been definitely ascertained that he ever worked in Italy, and therefore is subject to the usual mass of conjecture regarding its authenticity.
Label in a cello:
-------------------
Jacobus Stainer
in Absam 1675
-------------------
Label of a violin in the Monastery of Stams:
----------------------------
Jacobus Stiner
Cremonia, fecite 1642
----------------------------
Experts of undoubted integrity and capability have reasonably concluded the above to be a forgery.
VIOLINS
Tartini (composer of the Devils Trill Sonata), played on a beautiful large-sized specimen. Geminiani (famous follower of the Corelli school) used one for many years. During his long sojourn in England several makers of that period made interesting copies.
The Duke of Edinburgh, dated 1673. Of three-quarter size, large toned for such small dimensions, and of exquisite quality. Belly wood of beautifully fine grain, one-piece back of strikingly marked maple. Outstandingly brilliant varnish of a brownish yellow shade. Finely carved lions head. Given to the Duke (who practised upon it in boyhood) by his mother Queen Victoria. Acquired by Partello (famous American collector) and bought by Lyon & Healy of Chicago, 1921. Ultimately sold to an opulent art connoisseur for several thousand dollars.
Specimen owned by Mr. Waddell of Glasgow. Acquired by Wurlitzer 1929, and catalogued at 1,500 dollars. Rich golden brown varnish and handsome wood. Soprano-like tonal quality, brilliant and remarkably responsive.
One dated 1668, catalogued by Lyon & Healy at 4,000 dollars, 1925. Belly-wood of fine fibre, two-piece back of pretty material, with ribs in picturesque harmony. Sound-holes wide from top to bottom of stem and particularly good space between the wings and curves. Delightfully shaped waist curves. Rich golden-brown varnish.
Specimen dated 1662. Brownish-red varnish. Splendidly wooded, two-piece back. Catalogued at 1,000 dollars by Wurlitzer, 1930.
Specimen dated 1658. Acquired by Harry Dykes of London, 1910. Guaranteed by that expert to be genuine. Typical modelling, lions head, and superlatively fine varnish.
Specimen sold to a Russian nobleman at Dresden, 1876 for 400. Originally purchased from Stainer (on condition of giving him a pension and his dinner as long as he lived) by Count Trautmansdorf, Grand Equerry to the Emperor Charles VI.
One dated 1678. Sold at Putticks in London for 145 (1912). Supposed to have been rescued from a great theatre fire.
Small pocket violin in the Paris Conservatoire Collection. Inlaid with silver, also a richly carved head of a faun.
Two examples, dated 1677. Made for the St. Georgenberg Monastery. Unfortunately lost when the building was destroyed by fire, 1868. Generally regarded as the most magnificent things he ever conceived. One dated 1677 was originally owned by the Duke of Baden. Acquired by Dr. Uhl at Strasbourg. Body length 35.3 cm; upper bouts 16.5; lower 20.5; ribs 3.
One dated 1653. Made for the Damenstift Convent at Hall, now preserved at the local Cathedral.
One dated 1656, owned by Mozart. Presented by Stainer to the then reigning Prince of the Lobkowitz Estate in appreciation of the latters efforts in freeing him from prison where he had been incarcerated because of his Lutheran activities. Remained in the Collection at the Royal Castle near Prague until the youthful Mozart visited the Bohemian capital in 1786, when he attracted the notice of Lobkowitz and was honoured by being asked to accept the instrument for all his future performances. Returned to the Royal family after Mozarts death. Acquired by Vlado Kolitsch (Croatian violin virtuoso) when the castle was dismantled, 1920. One belonging to Sivori (Italian virtuoso of the Paganini school). Remarkable for the peculiar silvery quality of the tone.
Twelve so-called Elector violins. Nine of these are claimed to be in America - one owned by Gemnder of New York having the greatest renown, but as the Monastery tale is somewhat mythical, the majority of these examples cannot be accredited as genuine Stainers.
One dated 1656 belonging to Josiah Williams of Birmingham, 1925. Guaranteed by Hill & Sons. Modelling somewhat Amatese, one-piece back marked by a small flame slanting downwards to the left, ribs of slightly larger flame, plain head, nut-brown varnish. Printed label.
One dated 1652 catalogued at 1,500 dollars by Carl Fischer (New York). Wood of wonderful quality, top of closely grained spruce, back of small curl maple, golden-brown varnish of soft texture.
VIOLAS
The Posner viola, dated 1670. Owned by a well-known collector of this name, resident in America, 1925. Perhaps the finest in the universe. Body length 16.11/16 inches; upper bouts 7.15/16; lower 9-5/8; ribs 1-1/2 full at broad end and 1.7/16 at the upper bouts. Splendidly proportioned yet comfortable for the performer. Golden-red varnish, wonderfully transparent and quite Cremonese in appearance. Tonal quality of fascinating purity and depth. Formerly in the possession of a Hungarian nobleman. Brought to England and found its way into the unique collection formed by Baron Knoop. Acquired by Hill & Sons from whom Posner purchased it.
Specimen owned by W. W. Cobbett (chamber-music enthusiast) of London. Body length 16 inches; ribs rather deep. Arching slightly flatter than usual and suggestive of the influence of an A. & H. Amati.
Viola-di-bordone, dated 1660. Preserved in the Vienna Museum.
Viola-bastarda, dated 1643. Sold by the maker to the Archbishop of Salzburg.
CELLOS
Few known, and several connoisseurs have their doubts whether he actually built any, but it is indubitably certain he made viol-da-gambas some of which have been converted into cellos.
Carl Schrder (famous soloist and pedagogue) possessed a fine specimen dated 1671, certified by J. B. Vuillaume to be wholly genuine.
Measurements of a cello dated 1675: body length 29.4/5 inches; upper bouts 13-5/8; middle, 9-3/8; lower 17; ribs - upper 4-5/8, lower 4.13/16; from inner notch of sound-hole to top of body, 16-1/4 inches. Characteristic outline and very high arching. Well carved scroll, cut rather deeply, with the turn left small. Deep shade of golden-brown varnish.
DOUBLE-BASSES
Of very great rarity. One dated 1677, remained with the Lobkowitz family at the Roudnic Castle for nearly two hundred years. Three others of small size are known. 300 up to 850 for good specimen.
STAINER, JOSEPH
see STEINER.
STAINER, MARCUS
Brother and pupil of Jacob. Born 1619. Died 1680. Lived in the Tyrol, first at Absam, then at Kfstein, and finally at Laufen. Supposed to have been a monk. Instruments rare, partly because he was not especially prolific, and partly for the reason that several specimens have been passed off as the work of Jacob. It is affirmed that after Jacobs death he produced rather careless imitations of his brothers instruments, also with facsimile labels, thus engendering the impression that Jacob was variable in his workmanship. Generally large proportioned model ling - body length 14-1/4 inches; upper bouts 6-5/8; lower 8-1/4. Also a few more approximate to the Amatese design. Every detail treated to the minutest and consummate delicacy, at any rate all those properly authenticated. Arching invariably graduated with splendid artistry, and we are forced to admire the ingenuity of the scroll work, occasional specimens with a fancifully carved lions head. Edges and corners flawless. Sound-holes very graceful in the characteristic style of the Tyrolese. Magnificently veined belly wood, mostly of medium width. Backs always handsome, often of birds-eye maple, ribs of the same material. Finely transparent varnish almost equal to the Cremonese, reddish-yellow, reddish-brown and golden-brown, soft, flexible and lustrous. Tonal quality always mellow, not very powerful, but of agreeable brilliancy and responsiveness. 100, 1935. Also produced a few fine-toned violas.
---------------------------------
Marcus Stainer
brgerl: Lautten und
Geigenmacher in Kfstein
in Tyrol, 1647
---------------------------------
Veracini (famous Florentine violinist) possessed two examples which were christened Saint Peter and Saint Paul. Unluckily Veracini was shipwrecked when sailing from London to Leghorn, 1746, and both violins went to the bottom of the sea.
STAM, OTTO
Born at Tilburg (Holland), 1913. Amateur. Member of the Kunstliefde Society. Collector of primitive and ethnographical instruments. Resident at Utrecht. Studied violin construction with Lindeman and Uebel at Amsterdam. Individualistic modelling, inspired by the Guamerian. Thick orange-yellow or dark red varnish up to 1943, then a spirit one, very transparent, red thinly applied on yellow ground. Fine woods. Supple and brilliant tonal quality. Violas generally of normal length, but slightly broader, with deep ribs.
--------------------------
Otto Stam
Vioolbouwer Utrecht
L. Smeestraat 18
Aug. 1940. No. 10
-------------------------
--------------------------
Otto Stam
Vioolbouwer Utrecht
Zadelstraat 28
No. 24. 1949
--------------------------
Both with signature. Also branded Otto Stam.
STAMER, J.
Dealer at Heilbronn. Instruments made by experienced workmen in his employ.
--------------------
J. Stamer fecit
Heilbronn 1884
--------------------
STAMM, F. E.
Dyer, also a musician. Resident at Estebrgge, 1875, and at Hamburg, 1885.
--------------------------------
Reparirt von F. E. Stamm
Estebrgge
--------------------------------
STAND, GERARD
Worked at Amsterdam, 1730. Splendid work reminding of Mathys Hofmans.
STANGEL, ALOYS
Worked at Mittenwald, 1780-1800. Flattish model, third-rate order of workmanship, dark brown varnish of poor texture, small, thin, and muffled tone.
STANLEY, CARLTON F.
Descendant of a family of violin makers (Liberty Stanley, born 1776 - Grandfather C.F., and Uncle F.O.). Resident at Newton Centre (Mass) 1920. Made 600 violins, violas and cellos up to year 1942. Superb modelling, a tonic for the eyes. Pure oil varnish of own formula. Splendid uniformity of tone, not a drowsy note from top to bottom.
-------------------
Stanley
Newton. Mass.
19. . No.
-------------------
(large S curled round a violin)
-------------------
C. F. Stanley
Newton. Mass.
193. No.
-------------------
(with similar design)
STANLEY, ROBERT A.
Worked at Manchester up to 1912. Made 300 violins, violas, cellos, and double basses, many of them greatly esteemed by orchestral players.
STANZA, GIUSEPPE
Born at Venice, 1663. Pupil of Nicol Amati at Cremona, 1681. No absence of that integrity of feeling which distinguishes serious art attempts. Evidently found no embarrassment in copying the Amati method of varnishing. No point of workmanship other than refined. Tonal quality of fine sonority. Much of his work hidden under labels of better known makers.
STAPINSKI, PETER L.
Established at Chicago, 1915-1926. Lieutenant band-leader of the 1st Division of U.S.A. Engineers. Modelling principally Stradivarian and Guarnerian. Graduation according to degree of vibration. Oil varnish of own preparation.
STARCK, JOHANN
Born at Markneukirchen. Worked at Bruck (near Wildstein), and Prague, 1723. Not many specimens known. Specialised in ornamental violins with edging in relievo. Arching agreeably moderate. Prettily worked scroll. Splendidly transparent varnish of reddish shade.
------------------------------
Johann Starck aus Prag.
------------------------------
STARK, ALBERT
Born at Ble, 1897. Son, pupil and successor of August. Stradivarian modelling.
------------------------------
Albert Stark
Luthier
Strassbourg Anno 19. .
------------------------------
(artistically scrolled)
STARK, ALFRED OTTO
Born 1881. Worked at Wohlhausen, 1906. Excellent bows in the Nrnberger style.
STARK, AUGUST
Born 1871. Established at Strasbourg, 1899-1915. Principal maker in Alsace-Lorraine, also Director of the Luthiers Guild and other industrial institutions. Excellent copyist of the Stradivarius and Guarnerius. Prepared own varnish, several shades.
---------------------------------
A. Stark
Saiteninstrumentenmacher
Strassburg i E.
Anno. . . . .
---------------------------------
(bearing the Cremona Coat-of-Arms)
STARK, GUSTAV AND HERMANN
Bow-makers at Klingenthal, 1890. Both born at Rohrbach (G. 1861, H. 1865). Splendidly made bows. Stamped G + H. Stark.
STARK, HERMANN HEINRICH
Bow-maker at Markneukirchen. Died 1937. Very good sticks.
STARK, ROBERT ERNST
Born 1877. Worked at Erlbach, 1901. Nicely modelled instruments.
STASHAK, DR. JOSEPH T.
Born 1891. Amateur. Resident at Wilkes-Barre (Pa.). Made several violins mainly based on the Messie Strad pattern, and Betts. Hills varnish. Several possess many qualities of the old masters. Very creditable work.
STASSART, DIEUDONN, M.
Born 1887. Amateur. Gained experience in the ateliers of Laurent (Brussels), and Viertel (Aix). Good workmanship.
-----------------------------
Ddn Maurice Stassart
Luthier-Collectionneur
Violins Anciens
Lige. . . . . . . . . .
-----------------------------
STATLER, ANDREAS
Tyrolian. Pupil of Girolamo Amati. Worked at Genoa, 1705-1725.
STAUBER, ANTON
Born 1850. Worked at Cologne from 1874. Pupil of Tiefenbrunner. Violins remarkable for the almost microscopic finish of all details. Strangely, the tonal quality has often little to recommend it.
STAUBER, HEINRICH
Established at Cologne, 1925. Son of the preceding. Conscientious workmanship.
STAUDINGER (STAUTINGER), MATHUS WENCESLAUS
Worked at Wrzburg (Bavaria), 1745-1785. Rather classically modelled instruments, outline and arching in perfect harmony and resulting in graceful form. No less forcibly impressive is the varnish. Tonal quality very mellow and certainly clear. 30, 1930. Also produced lutes now highly prized by collectors. Cellos of equal merit, some with especially fine scrolls, giving beautiful equilibrium to the whole contour.
---------------------------
Mathaeus Wenceslaus
Staudinger me fecit
Wirceburgi 1756
---------------------------
Similar labels with the name given as Stautinger.
STAUFFER, JOHANN ANTON
Born 1805. Worked at Vienna and Kaschau (Hungary). Son, pupil and coworker of Johann Georg. Violins quite similar in general modelling with those of father. Some specimens have the corners very ingeniously decorated. Also rather famous for guitars.
--------------------------------------
Johann Anton Stauffer in Wien
Stadt No. 480
--------------------------------------
STAUFFER, JOHANN GEORG
Born 1778. Died 1853. Worked at Vienna until 1840, then went with his son to Kaschau (or perhaps he remained at Vienna, and his son opened a branch at Kaschau). Early years devoted exclusively to the production of guitars, but as they became more and more famous throughout Europe, he turned his attention to violins and cellos. Many of these attain the highest degree of perfection in modelling, also for delicate finish of all details. Soon became known as a particularly expert copyist, and the circulation of his work was fostered by rich patrons as well as by the less monied players. Commenced by copying the Stainer model, and that there is much of beauty and correctness in the principles of acoustical propriety cannot be denied. Varnish light brown. 25, 1930.
Similar splendid qualities stamp the Amatese copies. Delightful medium arching. Golden yellow varnish. Revelled also in the fanciful freedom of the Guarnerius. Bold and finely proportioned modelling, with an accurately carved scroll. Reddish orange varnish. Probably his most valued instruments. Stradivarian principles also successfully coped with, vamished golden yellow, sometimes vitreous and hard. Others rubbed down to resemble a worn appearnce. Occasionally imitated the Maggini, and emblazoned the backs with ornamentation. Produced others of ordinary medium arching having arabesques, festoons, and foliated designs on the ribs and elsewhere. Some with the terminal lions head. Even reproduced the style of our William Forster. Such prolific work naturally means profusion of classic and non-classic productivity, the monetary value of some not more than 10, whilst others have realised 40. Every instrument prettily wooded. Scrolls always of interesting design no matter which model is imitated. Tonal quality sometimes powerful, even blatant, seldom very agreeable, and never rich in mellowness. Made innumerable experiments in the apparently elusive problem of tone production. Built violins having double backs, which not only importuned the easy holding of the instrument, but damped the tone. Also inner lined the ribs with maple, which likewise failed in its object. Conceived in 1832, a narrow and very long model, but here again he advanced no further in his anticipation of a perfect tone but rather took a step backward. Adopted the processes of chemicalising and thinning the wood, tried extra small blocks, bars, and posts, even steel rods. Brought out a Patent Violin of guitar shape, without corners, etc. (much after the Chanot invention) in which the bridge was placed mid-way between the two ends of the body, instead of towards the lower bouts. Invented a model which had the bridge permanently fixed; and several other minor innovations. Created the Arpeggione in 1833, a guitar-cello, about the size of a viol-da-gamba, played with the bow, fretted fingerboard, and six strings tuned in fourths. Schubert was commissioned to write a composition for it. Also produced several new models of guitars, one called the Guitarre damour meeting with great popularity in social circles of his day. Fertility of inventive talent brought him little recompense, and he subsequently fell lower and lower in public estimation. Died in the Poor-House.
--------------------------
126
Georg Stauffer
Wien
im Schulhof No. 448
--------------------------
-------------------------------
Joannes Giorgius Staufer
fecit Viennae, anno 1828
-------------------------------
With the number of instrument on the left, also the particular month when the work was finished is indicated in writing. Sometimes Casehaii is written after the date implying the town of Kaschau.
STAUTINGER
see STAUDINGER.
STAVENS, J. M.
Resident at Portland (Oregon), 1929.
STAVNITZKY, ANDREW
Born 1894. Amateur. Studied with Michael Gozzo. Resident at Manchester (U.S.A.), 1930. Excellent modelling and brownish varnish of sombre hue. Also a few well constructed bows.
STECHER, JOSEPH
Born at Salzburg, 1828. Worked at Vienna for Lembck. Died 1896. Gained several medals. Violin in Salzburg Museum dated 1884.
STEDMAN, ROYSTON
Worked at Leyton, Essex, 1870. Good modelling and varnish.
STEELE, JAMES
Born in Cumberland, 1878. Resident at Wallington (Surrey), 1924. Entirely self-taught in violin structure, except for culling from books and careful inspection of some fine instruments. Commenced on first instrument, 1920. Four or five specimens built yearly. Modelling generally adopted from the Messie Strad, and occasionally one of own design. We are impressed with the amplitude of outline and the delightful graduation of arching. Used the best material procurable and some productions are palaces of beauty, front, back, and sides. Well defined purfling accurately traced, fine grooving supplemented by especially well finished edging splendidly sharp and prominent. After carefully noting the result of various varnishes used for early specimens, he conceived the idea of judiciously mixing a few together, and persistently bearing in mind the eventual colouration, proper elastic propensities, and reasonable drying tendencies, he found that the process answered particularly well. Had certain original notions relating to air capacity, sought out good tonal wood, attuned the plates most carefully, and was only content with absolute exactness throughout, inside and outside. Never does the eye rest on anything but flawless workmanship. Scroll and sound-holes considered with alike fastidiousness. Gave the instruments a very strong backbone, and by extremely careful graduation to the edges he achieved a splendidly firm tone, completely equal, absolute avoidance of wolf notes, and brightly responsive.
STEELMANN, PAUL
Born at Dresden, 1853. Worked at Schaffhausen. Good work, wood and tone.
STEENSTRUP, SOFUS
Worked at Copenhagen, 1908. Violins and cellos of commanding design. All details accurately consummated. Admirable tonal quality. Beautiful light and shade varnish.
STEFANINI, GIUSEPPE
Born 1908. Pupil of Vistoli. Resident at Lugo di Romagna. Individualistic modelling, reddish yellow spirit varnish until 1950; then oil varnish of own formula.
-------------------------
Stefanini Giuseppe
Fece in Lugo, 1950
-------------------------
(with signature)
STEFANO, GIUSEPPE DI
Worked at Catania (Sicily), 1925.
STEFANO, UMBERTO DE
Born 1924. Amateur at Rome, 1943. Amatese and Gasparo-da-Sal modelling. Dark red spirit varnish with yellowish reflections.
-------------------------
Umberto de Stefano
Roma - 1951
-------------------------
STEFFANINI (STEFFANI), CARLO
Worked at Mantua (Italy), 1760-1792. Mandolines and lutes occupied most of his attention. Only a few violins bear his label.
------------------------------------
Carlo Steffanini
fece in Mantova, lanno 1785
------------------------------------
STEFFENS, E.
Worked at Magdeburg (Saxony). Early instruments entirely unsightly in outline and disproportioned elsewhere. Cumbersome sound-holes, and an absolute mis-conception of uniform tracery in the purfling. Precipitous looking scroll opposed to even a limited sense of artistry. Meagre spirit varnish in quality and quantity, of dirty looking shade and messily applied. Later instruments slightly better, but none show he had any aptitude for the art.
-----------------------
E. Steffens
Instrumentmacher
Magdeburg, 1878
-----------------------
(oval)
STEGER, JACOB
Born 1849. Amateur. Resident at Buttishol (Switzerland). Patented specifications appertaining to the perfection of violin construction.
-------------------------
Jakob Steger
Patent + Nr. 21,308
Willisau 1901
-------------------------
STEGER, FRANZ
Worked at Hermannstadt (Germany), 1885-1895.
STEGER, N. FRANZ
Worked at Ofen (Budapest), 1796. Placed himself under well-known instructors in Vienna, and soon progressed in his knowledge of classic contour, and the skilful application of his stored-up knowledge. Worthy representative of the Austrian school. 80, 1960.
----------------------
Franciscus Steger
in Ofen, 1796
---------------------
STEGFELDT, KARL OSCAR
Born 1898. Resident at Solna (Sweden). Good designs, neat workmanship, well curvatured scroll, brown or reddish-brown varnish.
STEHLE, J.
Worked at Odessa (Russia). Conducted all his undertakings with great taste and zeal. Several productions highly prized by artists. Soundly accurate Guarnerian design with manifest originality. Very nice varnish. Brilliant and sonorous tone. 125, 1960.
-------------------
J. Stehle
Geigenmacher
Odessa, 1870
------------------
STEHLIK, LJOS
Born 1876. Worked at Budapest, 1909. Died 1937.
STEIGERWALD, ERN Born 1904. Worked at Bekescsaba (Hungary), 1932. Classical models well depicted. Fine varnish.
STEIN, ADOLPH
Born 1905. Studied at Mittenwald. Worked at Darmstadt, 1927; and at Hamburg, 1929. Cremonese and Tyrolian models. Instruments branded at lower part of deck - also labelled.
STEIN, HEINRICH
Worked at Pressburg (Slovensko), 1810. Principally guitars. Violins bearing his label emanate from German factories.
STEIN, KARL
Resident at Sdertlje (Sweden), 1925.
STEINER, CARLO GIUSEPPE
Born at Absam, 1646. Worked at Milan and Cremona for many years, did much good work though suffering from bodily and mental ailments. Went to Calbe (Saxony) in 70th year, known there as Fiddler Carl. Died 1732. Small proportioned modelling of Tyrolese style. Well wooded and covered with dark brown varnish. Tonal quality small, but pleasingly sweet and clear. Labelled, also signature in faint ink on the bass bar. 70, 1960.
STEINER, GUSTAV
Worked at Teplitz (Bohemia), 1908 Productions much admired, and have secured the patronage of influential players. 90, 1960.
STEINER, JACOB ERASMUS
Born at Calbe (Saxony), 1620. Son of James Stuart McDonald (exiled from Scotland, settled in Saxony, married the daughter of Count Steiner, owner of a factory for the manufacture of dyes and stains - assumed the name of Steiner, but was frequently called Schotte). Joined the Tyrol militia, wounded in battle, taken in and nursed by the Albani family, married the daughter, lived at Absam, 1642. Produced a large number of instruments. Spent two years at Cremona, 1650, and thereby improved his productivity. Lost his wife in 1666, mental aberration set in, and finally committed suicide. 80, 1960.
STEINER, JOHANNES ANTON
Worked at Markneukirchen, 1760-1773. Modelling entirely subject to contempt, worthless affairs only fit for destruction. Labelled as though produced in Cremona.
-------------------------------
Johannes Anton Steiner
Musikus - Instrumentalis.
Coresp. Cremona. 1760
-------------------------------
STEINER, JOHANN GEORG JOSEPH
Worked in the Tyrol, 1600-1662. Principally lutes. Not particularly praiseworthy. Made a few violins in his declining years which unreservedly follow the Stainer modelling in outline, arching, and sound-holes. Generally lion heads.
------------------------------------
Johann Georg Joseph Steiner
Violin et Laudem Mager
Anno 1604
------------------------------------
STEINER, JOSEPH (1)
Worked at Mittenwald, 1792. Attained notoriety for absolute mediocrity. Corrupted in form, valueless in tone.
-----------------------------------
Joseph Steiner in Mittenwald
Anno 1792
-----------------------------------
An illiterate individual who sometimes wrote Mittenbald on the label.
STEINER, JOSEPH (2)
Born 1862. Worked at Mittenwald, 1888. Settled at Lengberg (Tyrol), 1890. Died there, 1908. The violin world is every now and then startled by innovators and experimentalists in varnishing, and Steiner was one who enlisted the best powers of his intellect in several attempts to advance in this great problem. However, his schemes remained partially visionary, and the tonal improvement anticipated was never imparted to any of his productions, in several instances the quality was not even good, and its responsiveness seemed checked. In all other respects his violins gratify the eye. Modelling bears all the evidence of classic adherence - workmanship has no apparent blemishes. Beautifully and soundly wooded. 75, 1960.
-------------------------------------
Jos. Steiner, Lengberg (Lienz)
fecit me Anno 1890 No 18
-------------------------------------
-----------------------------
Joseph Stainer
feci: me Anno 1897
No 24
Lengberg Lienz (Tirol)
----------------------------
STEINER, LUDWIG
Worked at Absam (Tyrol). Instruments somewhat Klotz-like, but with certain slight inaccuracies in outline and graduation. Scroll carelessly executed. No special eyesight needed to see the exceedingly poor quality of varnish. Tonally there is little to recommend except a peculiar sweetness perhaps acceptable to the non-critical amateur. 45, 1960.
----------------------------------
Ludwig Steiner in Absam a
Tyrol fecit me Anno 17. .
----------------------------------
STEINER, PETER
Municipal watchman at Gratz (Styria), 1918. Leisure hours devoted to violin making. Productions not far behind those of skilful professionals. Transplanted the best traits of the Cremona school in the modelling, emphasised contour beauty by refined workmanship, and further enhanced everything by a rich varnish. 65, 1960
STEINERT
Worked in Saxony, 17. . . Generally wide-grained belly wood, backs of beech wood. No purfling.
STEINERT, JACOB
Worked in the Tyrol. Fairly good workmanship. Possibly factory emanations.
STEINGEL, ARNO
Born 1900. Worked at Markneukirchen, 1921. Well designed violins and cellos. Also guitars.
STEININGER, FRANZ XAVIER (FRANOIS)
Born at Mayence 1778. Son and pupil of Jacob. Court violin maker at Darmstadt 1800. Worked at Frankfort 1801 and at St. Petersburg 1806-1816; made brief sojourns in Warsaw, Berlin and London; returned to Frankfort 1818; and finally at Paris 1827. Died there 1853. Early instruments quite German in style. Later specimens from about 1810, gradually assume a total contrast through the modelling being based on the Italian. At Paris he closely combined the characteristics of the French and Italian styles. Remarkable impressiveness or magnificence do not apply to his designs, but he accomplished much to please connoisseurs. Splendidly wooded with very handsome material. Good varnish though not luxuriantly applied. Tonal quality easily undulating under an expert bowist, yet full of resistance. 30, 1928. Experimented to ameliorate the third and fourth strings by reinforcing the belly near to the bass bar. Cellos especially deserve the appellation fine, valued at 50. Greatly favoured by French players as the instruments are made or subjected to some process which renders them impervious to the varied temperature in the high and low lands. 70-90 cellos, 1960.
----------------------
Franz Steiningard
Frankfurt 1810
----------------------
(some printed others written)
----------------
F. Steininger
Paris 1827
----------------
STEININGER, JACOB (1)
Worked at Passau; Mayence 1775; Frankfort 1790, and Aschaffenburg 1800-1818. Appointed maker to the Court at Mayence. Had several subsequently famous pupils, including Nicholas Diehl. Well constructed violins, generally one-piece backs and attractive varnish of dark orange shade. 70, 1960.
-------------------------------
Jacobus Steininger
Churfurstl: Mayntzischer
Hof Lauten und Geigen
macher, 1777
------------------------------
(German lettering)
Royal Coat-of-Arms in centre. Name sometimes spelt Staininger.
STEININGER, JACOB (2)
Son of the preceding. Born 1785. Died 1835. Learned constructional principles from father, and brother Martin. Worked at Prague 1810; afterwards at St. Petersburg. Productivity comparatively small, and most instruments were made at Prague. Rather broad modelling, and the nicety of the scroll contributes to a really excellent effect. Sound-holes distinguished by Stradivarian characteristics. Corners splendidly narrow and elegant. Dark shade of reddish-brown vamish. Tonal quality completely satisfactory in power and sweetness. 60, 1960.
STEININGER, MARTIN
Born 1780. Worked at Aschaffenburg (Bavaria), until 1809, then assisted brother Franz at St. Petersburg, afterwards established own premises, and continued until 1830.
------------------------------------
Verfertig von Mart Steininger
in Aschaffenbrg 1803
------------------------------------
(written)
STEITZER, VINCENZO
Worked at Brescia, 1610-1625. High arching, lacking in fine graduation. Small and flat-looking scroll. Sparsely applied golden yellow varnish.
--------------------------------
Vincenzo Steitzer
feci in Brescia anno 1619
--------------------------------
STELLUTO, LORENZO
Born 1886. Pupil of Scarampella. Worked at Mantua 1920. Refined Strad modelling. Made a large Contro-violino which had a cello-like sound. Called it Mussolini owing to its unusual fatness. 75, 1960.
STELTZ, JACK G.
Born 1907. Resident in Milwaukee (Wisconsin). Enthusiastic amateur who received instruction in violin making from the late Frank Chatfield (American maker for over 50 years), and afterwards from Mr. Roman Ray, resident of San Diego. Received also excellent advice from Mr. Ritter of Prager & Ritter, Chicago. Noted as a repairer of all stringed instruments. Opened a fully equipped workshop at 1044, Market Street, Milwaukee, a rendezvous for players and music lovers. Fine local reputation for honest and fair dealings. Productivity small up to 1960. A musical family, various members playing the oboe, horn, trumpet and piano.
----------------------------------------
Jack G. Steltz
Alumnus Frank Chatfield
Made in Milwaukee, Wis., 1960
----------------------------------------
(Old English print, with personal monogram on right-hand side in ink)
Same signature is also placed inside top and bottom, and on upper and lower blocks, in Indian ink.
Received much valuable advice and instruction from European maker Roman Ray after the death of Mr. Frank Chatfield.
STELZNER, DR. ALFRED
Devoted himself at an early age to the study of the violin, and made rapid progress towards proficiency in technique. Was destined for a scientific career, and went to the Heidelberg University to study mathematics and physics. Seriously applied himself to finding a solution to the Cremona tone problems. Commenced by enquiring into the nature of sound, how and where it originated and developed in violins, also its emission. Experimented with ideas concerning the oscillation of air molecules producing sound waves in the body of the instrument, quantity of tone depending on their energetic action, and quality determined to a very great extent by the coincidence of their foci (centring points). Decided that these conditions could only be achieved by abandoning the semi-circular form of the outline in favour of the ellipse and the parabola. Went to Weisbaden, 1891, and had the assistance of Wiedemann in the construction of these new form violins. Established at Dresden 1896. Committed suicide 1906. Familiar pattern modified by altering the circular sections in the outline of the upper and lower part to ellipses, while the bouts take a parabolic shape - latter form also given to the end blocks inside, thus eschewing the older ones of round shape which, according to Stelzner, interfered with sound-wave vibration. Ribs much higher between the bouts than the old Italian, and taper off parabolically towards the upper and lower of the body, but most towards the neck. Flat pattern table, cut perfectly straight, and pressed down on to this parabolic outline of the ribs in glueing it on. Fibres of the wood, expanding thereby, are supposed to answer more readily to the vibrations of sounds within. Stelzner also thought that heretofore the sound-holes had only been considered from an aesthetical viewpoint, and that the old masters failed to appreciate the fact that the part of the table which projects between the rounded-off ends and the middle parts of the sound-holes forms a kind of vibrating tongue. Therefore he altered their shape by enlarging this tongue to about five or six times its original shape, whereby came increased emission and strengthening of tone. He claimed a tonal quality equal to the Cremona in purity, and surpassingly superior in strength and freedom. Attributed everything to the fact that the instruments were constructed according to the strict laws of acoustics which well nourished the overtones and gave unexampled brilliance. Secured the co-operation of famous virtuosi such as Rappoldi, Wilhelmj, and Sauret, to publicly exploit his wondrous innovated violins. Also invented the Cellone and Violotta to enrich modern chamber music. Violotta tuned an octave lower than the violin, and of the same length as the ordinary viola. Cellone tuned an octave lower than the violotta, thus standing as low as the three-stringed bass but of greater tonal flexibility, and about one inch longer than a full-sized cello. Works were composed by Draeseke and others for performance with the Stelzner quintet (two violins, viola, violotta, and cellone), and the nobility of uniform tone fascinated everybody.
---------------------------
No 330 Dresden 1899
Dr. Alfred Stelzner
---------------------------
STEMPLOWSKY, A.
Born in Westphalia 1856. Artist painter and professor of music. Resident at Engelberg (Switzerland) 1895. Violins, violas, and cellos, Stradivarian modelling, splendid workmanship, judiciously chosen woods, and delightful varnish.
----------------------------------
Alexius Stemplowsky A S
Engelberg 19 18
----------------------------------
STENBACK, J. O.
Born 1846. Resident at Hedemorra (Sweden). Died 1916. Non-attractive violins, workmanship not refined, very high arching and extravagantly deep ribs.
STENFELDT, CARL JOHAN
Born at Stockholm 1877. Excellent violins, also guitars and lutes.
-----------------
Carl stenfeldt
Malarhjden
-----------------
(Circular, with monogram in centre)
STENGEL, ALBERT HANS KURT
Born 1914. Pupil of Weidhaas and Pfretzschner. Established at Markneukirchen. Fine bows, 12, 1960.
STENGER, WILLEBALD CONRAD
Born on a farm in Woodford County (Illinois), 1870. Had a musical father, and was given a violin in fifth year. Made reasonable progress in the art of playing until fourteenth year, lost his father, missed his inspiration and companionship, and very nearly was stranded without finance. Struggled on but thoroughly realised the hopelessness of real progression with the poor-toned fiddle he possessed, soon formulated the desire for violin building, so applied to a well-known maker for apprenticeship and travelled along the problematical road with great fervour. Attended an opera performance by the Damrosch Company at Kansas City, which included the finest vocalists and a magnificent orchestra of 80. Became mightily impressed with music and kindred arts, the metaphysical significance of the uplifting element in Wagners music made itself emotionally experienced in a manner immediately to awaken his ambition. Held fast to the dominant principle that the highest was the only achievement, and was thus impelled onward to the further development of his life work. Produced first violin at Topeka (Kansas) 1903. Subsequent instruments show the gradual unfolding of certain original ideas, a coincidence strikingly analogous to the inception of Wagners Meistersinger. Appealed to his sense of reason to decide questions of moment, and found that considerable adherence to the Stradivarian principles was the only sure way to sufficiency of beautiful tone. All measurements conform to wellestablished principles, but there is no slavish copying of the prototype, everything seems most rationally accomplished. Experimental speculation and mere conjecture of obtuse innovations never bothered or turned him from the traditional path of the Italians. Scroll, sound-holes, edging and corners all treated to superb manipulation. Outline and arching almost idealistic. A lifes devotion of uninterrupted study and labour, involving the mastery of acoustical principles, timber physics, and engineering, has yielded an exemplification of almost a new era in modern violin art. Used the best European woods, extensively treated them to various processes in the semi-arid region and desert country of the southwestern States, but never attempted to find some fancied lost secret, or any other manias resulting in conceited assertions of accomplishing something previously unattainable. Varnish of linseed oil, specially prepared by himself, in shades ranging from light orange-brown to dark brownish-red. Application of this Cremoneselike varnish is technically and spiritually remarkable. Tonal quality particularly large and resonant, colourful, uniform from top to bottom, of fine carrying power and rare singing character. Produced 350 instruments up to year 1925. Disposed of them at 100 to 500 dollars each. Established at the Steinway Hall, Chicago, 1909. Died at Interlochen (Michigan), 1947.
-------------------------
Willebald C. Stenger
Chicago
-------------------------
-------------------------------
Willibald Conrad Stenger
No. . . Chicago 19. .
-------------------------------
(written on brown tinted paper)
Sometimes Conrad replaced by C. Also produced Tourte-like bows, particularly used by orchestral players.
STENKJONDALEN, KNUT ELLEFSEN
Born at a village of the same name. Worked at Bo (Norway) 1890-1900. Specialist in Hardanger fiddles. Also built several cleverly designed violins of ordinary shape and size.
STENTOR
Name of instruments originally made by Nicolas Vuillaume at Mirecourt. Yellow-orange varnish. Now attached to many trade instruments at 5 emanating from that town. Branded inside, and on a little projection of the scroll. Name also used by Darte branded
Stentor is the name of a Greek herald with an extraordinary far-reaching and loud voice (created by Homer in his Iliad).
STPHAN, CHARLES
Worked at Mirecourt. Violins, violas, and cellos. Very superior Mirecourtian productions, but bearing a slight individuality. Nothing contracted in shape or dimensions. Everything synchronised into one perfect whole. Splendidly selected wood. Deep red varnish most attractively applied.
------------------------------
Charles Stphan Luthier
Mirecourt, 1913
------------------------------
STEPHENS, G. B.
Worked at Bristol, 1780. Very good work.
STEPHANSON, J. S.
Amateur. Resident at Cape Town, 1924.
STEPHENS, JOHN CARROLL
Born 1886. Resident at Tyler (Texas), 1920. Customary Cremonese modelling, archings to suit the particular nature of the wood, generally light red on yellow background varnish.
--------------------
J. C. Stephens
Fecit A.D. 1925
Tyler, Texas
--------------------
(written)
STERBACH, FRANK (FRITS)
Born at Kezmark (Hungary), 1875. Studied with Remnyi at Budapest. Produced first specimen 1904. Established at Philadelphia (U.S.A.), 1927. Total productivity up to that year amounted to fifty instruments. Modelling either Stradivarian, Guarnerian or Amatese. Never delivered himself up to possible ridicule by indulging in any extravagantly spun theories of structure or promulgated so-called wonderful secrets in varnishing. Followed the established laws of thicknessing, believed in graduation of the belly as demanded by a particularly strong back, and successfully arrived at symmetrical and tonal beauty. Every instrument finely wooded. Beautifully shaded hues of orange, dark brown, and dark red varnish. Wisely shunned all fanciful doctrines that old tone could be imparted, and relied on the succeeding years to bring about the naturally certain maturity.
-----------------------------
Made by
Frank Sterbach
Violinmaker. Phila. Pa.
1925
-----------------------------
(written on brownish tinted paper)
STERNBERG, HEINRICH FRANZ
Worked at Lneberg (Hannover) 1720-1758. Rather large outline, longitudinally and transverse. High arching destroying all harmony of design. One-piece backs of poorish material, ribs quite as plain. Sometimes not purfled. Light brown varnish of little suppleness. Loud and nasal tone, altogether deficient in purity.
STERNBERSKY, HANS HEINRICH
Worked at Prague 1720-1730.
STETTLER, SAMUEL
Born 1816. Resident at Oron-la-Ville (Vaud). Died 1896. Made commonplace violins for friends and country dealers. Robust outline, embryo workmanship, flattish arching, strong and rounded edges, somewhat pointed sound-holes, traced purfling, strange looking scroll with great breadth at lower curve, and brown spirit varnish.
STEVENS (STEEVENS), GRRIT
Worked at Leyden (Holland), 1740-1749.
STEVENS, P. J.
Worked at Nivelles (Belgium). Cello in Brussels Museum. Back and ribs of poplar tree.
STEVENS, WALLACE R.
Born 1892. Amateur. Resident at Stratford (Conn.) Individualistic model. American woods.
STIEBER, ERNST
Born 1907. Studied at Markneukirchen. Worked at Mannheim 1927, Leipzig 1931, and at Tubingen 1937. Good modelling and varnish. 60, 1960.
STINBERG, JACOB
Six-string viol-da-gamba at the Bach Museum, Eisenbach.
STINGL, JOSEPH
Worked at Schnbach, 1826-1835. Commonplace violins rather heavily built. Poor very dark brown varnish.
STIRRAT, DAVID
Worked at Edinburgh 1810-1820. Most interesting instruments, and record considerable advance on many previous Scottish. Purely artistic outline based on the Stradivarian. Bouts and waist curves well balanced. Arching slightly modified from the original model. Margins and purfling effectively carried out. Attractive sound-holes with a nicely conceived central aperture. Scroll of fairly noble aspect. Workmanship finished most carefully. Well chosen woods rather plentifully used. Spirit varnish of dark reddish or yellow tint, and not thickly applied. Fresh, bright and vigorous tonal quality, also a modicum of sweetness.
--------------------
D. Stirrat Fecit
Edinburgh 1810
--------------------
Sometimes printed, and sometimes on the bare wood in tremulous writing indicative of the makers growing infirmity. 70, 1960.
STIRTZER, J. M.
Violins and violas of attractive features and really suave tone.
STOBELL, H. C.
Worked at Vienna. Double-bass preserved at Ble Museum - of violin form, four strings, deck strongly high, lion-head gilt edged, sculptured peg-box and brown varnish.
STOCKDALE, WILLIAM
Resident at Acklington. Delved into the problem of getting maturity of tone without the necessity of scores of years playing. His principal method was to always keep the original Strad or Guarnerian dimensions in focus, but to give slight additional strength constructively in order to counterbalance the present-day higher pitch than that which the old masters had to contend with; it is not certain that such theorems lead to the conclusions anticipated. The best intentionist will sometimes reason from incorrect data, and imagination will often fail to properly visualise or realise the actual - so, it is left to the strong sun of posterity to really settle the matter of perfect tonal maturity. Stockdales workmanship is forcibly excellent, and he accomplished much that should receive future appreciation.
STOCKHOLM, P.
Established at Copenhagen, 1909. Violins and guitars. Productions inspired by the charm and colour of the old master instruments, and not without a touch of skilful deftness.
STCKL, TOBIAS
Amateur. Known as a reliable repairer.
STOCHEK, SAMUEL A.
Violin maker in New York, 1945. Little known.
STOESSEL
see STSSEL.
STOFFEL, WILLIAM PETER
Born at Racine (U.S.A.), l883. German parents. Studied at Schnbach. Resident at Milwaukee, 1920. Constructed several excellent violins. Author of Proper Adjustment of Your Violin, 1941.
STGER, ANTON
Worked at Salzburg, 1860-1880. Principally zithers and guitars, but occasionally produced violins in Klotz style. Brownish-yellow varnish.
STHR, ANTON
Born 1800. Died 1850. Worked at St. Plten (Lower Austria) from 1828. Few instruments known.
STHR, CARL
Born 1825. Worked at St. Plten, 1860. Died 1909.
STHR, JACOB
Worked at St. Plten, 1796-1830. Best of the family. Productions scarce. Modified Stradivarian outline with medium arching. Workmanship not conspicuous for its exceeding delicacy, nevertheless there is the touch of the masterful craftsman. Edging may lay claim to splendid roundness. Wide corners very conspicuously projecting. Good acoustical belly wood, generally one-piece backs of very slightly flamed maple. Scroll treated to deep grooving, and considerable originality in making the boss particularly prominent. Light-brown varnish, semi-bright but clear, being absolutely free from the patchy streakiness and discolouration sometimes seen on the brown varnished instruments of Bavaria and Tyrol. Tonal quality of medium strength and of Stainerish timbre, meriting the sum of 30, 1927.
----------------------------------------
Jakob Sthr in St. Plten
a. d. Traissen bei Herzogenberg
----------------------------------------
----------------------------------------
Jakob Sthr
burgl: Lauten und Geigenmacher
in St. Plten 1829
----------------------------------------
STHR, JOHANN
Worked at Salzburg 1830-1845. Three types of modelling - (1) Stradivarian outline with medium arching; (2) Guamerian modified, and (3) somewhat Stainer-like in breadth and abrupt arching. Ruby hue of varnish very thickly laid on, many specimens showing much wear. Productivity rather large, also frequently evidencing the truth that, in order to make a living, he was compelled to sacrifice certain talents with which he was endowed. Most of his instruments are of the popular character constructed at a moderate price, but he did conceive a few others on which the time and labour bestowed must have demanded a greaetr remunerative sum.
------------------------------------
Johann Sthr, Geigenmacher
Salzburgh 1831
------------------------------------
----------------------------------------
Johann Sthr
Geigenmacher in Salzburg. 1837
----------------------------------------
STOJAKOVIC, PAVLE
Born at Backa Palanka (Serbia), 1842. Worked at Budapest, Paris and Vienna. Settled at Novi Sad, 1800.
STOLTZ, FRITZ
Born at Langkat (Sumatia Island, Dutch Indies), 1885. Architect at Batavia (Java), 1920. Resident at The Hague (Holland), 1921. Studied the famous book of Heron Allen, initiated into the art by W. P. Kunze, and, as a very ingenious and enthusiastic amateur, accomplished much that will receive full futuristic appreciation. Outline and arching somewhat near to the Stradivarian. Claimed to have originated new principles of harmonic attuning of the plates which improve the entire organism of tonal freedom. Scroll and sound-holes evidence the makers manipulative genius. Inside work super finely finished. Shades of golden-yellow to reddish-brown varnish. Tonal quality ample in penetrative power, and quite satisfactory in sonorous sweetness.
No. 12 f/s 1924 written in ink on the back.
STOLZEL, HERMANN JR.
Born 1899. Son and pupil of Hermann Senr. Worked at Markneukirchen. Died 1935. Both specialised in making double-basses.
STOLZENBERG
Worked at Luneburg (Hannover).
STONDRING, RICHARD
Resident at Accrington (Lancashire), 1894. Patented improvements in violins and similarly constructed instruments.
STONEMAN, HENRY
Born at Zeal Monachorum (Devon), 1856. Apprenticed to the joinery and cabinetmaking trade. Worked over 20 years for an ecclesiastical building firm at Exeter. Relinquished this calling, 1903, in order that he might devote his energies and natural aptitude to violin construction, an art which from early youth, always strongly fascinated him. All leisure hours during the years engaged in cabinetmaking were utilised to become more proficient etc. as a violin maker. Bought all the good fiddles he could afford, studied their differences, and so stepped on to an ever widening path to a high degree of structural and scientific knowledge. Having attained all possible French cunning etc. in the restoration of old instruments his services were so frequently requisitioned as to materially affect any prolific productivity of his own new instruments. Total output up to year 1925 only amounted to twelve, and each exemplifies painstaking care in every detail of workmanship. Principally Stradivarian modelling, two only following the Guarnerian, all of bold outline but not at the sacrifice of elegance. Scroll and sound-holes have gracefully flowing lines well harmonising with the rest. Very worthy productions, results of conscientious thought and skill of a keen whole-hearted enthusiast. Early instruments varnished with Whitelaws ruddy-brown preparation, but to the later ones he applied the superior orange-red varnish of Dr. Inglis Clark.
-----------------------
Henry Stoneman
Exeter
No 10. Fecit 1923
Devonia
-----------------------
(on vellum)
Each instrument bears a special name:
(1) Boucher - a striking personality, an old friend, and an art collector. Belly wood taken from the wind-chest of an ancient organ.
(2) Isca - ancient name of Exeter. Made 1915.
(3) Hayward - his wifes maiden name.
(4) Sempre Fidelis - Exeter City Arms.
(5) Marlborough - named after a one-time Dean of Exeter.
(6) Echo of the Exe - belly from a beam taken from an old house on the banks of the River Exe. Though made more or less as a curio, the tonal quality reaches a useful standard.
(7) Redvers Buller - in remembrance of this Exonian General who came into prominence during the Boer War.
(8) St. Peter - after the Cathedral.
(9) The Harold - name of a cherished friend.
(10) Devonia - his county.
All instruments except (1) and (6) made from finely seasoned Italian woods. Received 10 for (1), and 40 for (10).
STORCH, GEORG
Worked at Dantzig (Prussia), 1674-1686. No originality in conception, rough, vigorous workmanship.
STORCH, IGNAZ
Worked at Wolfersdorf (Germany). Ordinary instruments in design, workmanship, and tone. Referred to (but not very confidently) as worth 10.
STORCH, STEFAN
Born 1868. Pupil of B. Ptzl. Established at Mertendorf (Bohemia), 1895. Produced stringed and wind instruments.
STORCK, DIETRICH
Born 1742. Worked at Strassburg 1770-1800. Master in the Luthiers Guild 1770. Modelling presents nothing removed from the ordinary. Workmanship, varnish and tone, may be guessed at when we assign the instruments to the 15 class.
Shop sign - At the Concert of Storks.
STORCK, JOANNES FRIEDRICH (1)
Born at Strassburg. Worked at Augsburg (Bavaria) 1750-1780. Compared with several other Bavarian productions, these violins do not bear the test well, and have obtained but slight approbation from anyone. Stainer modelling without artistic developing of the arching. Classic amount of precision apparently could no be enforced from his rather untalented hand. No ingenious prettiness about the scroll or sound-holes. Wood generally well chosen. Tonal quality frequently sharp and unpleasant. Violas (several converted from his much better designed viols) are altogether more in accordance with good art. Various shades of varnish.
-----------------------------------
Joannes Frederici Storck
Lautten und Geigen Macher
Fecit Augustae. 1755
-----------------------------------
STORCK, JOHANNES FRIEDRICH (2)
Worked at Strassburg 1740-1770. Master in the Luthiers Guild 1766. Excellent flat modelling, reflecting credit on the taste and skill of designer. Scroll however, seems to have too much weight, a not infrequent fault. Wide and narrow-veined belly wood. Generally one-piece backs but not always of well marked material. Orange-red or dark brown shades of varnish. Tonal quality fairly powerful and nicely responsive. Also violas of broad flattish pattern, body length 14-7/8 inches. Produced several lutes which are preserved in various museums.
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Friedrich Storck
Strassbourg. 1745
-----------------------
STORCK, JOHANN REINHART
Worked at Strassburg 1766-1789. Brother of Dietrich, and worked in the same premises. Some splendid violas known.
------------------------------
Joannes Reinhart Storck
Strassburg. 1772
------------------------------
(with figure of stork within a crescent)
STORCK, JOHANN VALENTIN
Worked at Strassburg 1686. Produced many interesting lutes and viols. A fine violin, dated 1690, Stradivarian modelling, was in the Dykes Collection, London.
STORCK, T. REINHARD
Worked at Strassburg 1760-1800. Sometimes anti-dated his work 100 years. Modelling of fairly flat arching exhibiting a few slight frustrations of hand in the workmanship. Scroll looks aggrieved by being insignificantly treated. Sound-holes of graceful slant equally apportioned from the sides. Medium, but nicely even, grain belly wood. Light brown varnish of pleasant hue.
Label - circular, with the stork at the top within a crescent, and the design of a fiddle at the bottom.
------------------------
T. Reinhard Storck
Strasburg 1690
No 15
------------------------
STOREY, HERBERT H.
Born at Islington (London) 1885. Established at East Dulwich (London) 1920. Organised a School of Violin Instruction. Not studied or worked with any professional maker, but initiated himself into the art solely out of sheer enthusiasm for the instrument. Personal friend of George Buckman of Dover, from whom he received many interesting ideas. Produced first instrument 1922. Completed three or four every year. Modelling either Stradivarian or after the original design of a Buckman. Workmanship sufficiently neat to arrest the attention of connoisseurs. Red and amber varnish. Had some original theories on the method of applying varnish, and hoped to incorporate its intricacies in a text book. Excellent tone, improving as the years pass.
Assisted by his son.
STORINO, GIOVANNI
Pretty theorbo preserved at the Brussels Conservatoire. Il pellegrino inscribed on the fingerboard.
STORIONI, CARLO
Worked at Cremona, 1800-1810. Inherited the name but not the art of a Storioni. Grand-Stradivarius modelling, designed without elegance. Scrolls with widely projecting boss, miserably suggesting the Bergonzi influence. Reddish brown spirit varnish too opposed to flexibility. Tonal quality powerful but devoid of beauty.
---------------------------
Carolus Storioni
fecit Cremonae, 1805
---------------------------
STORIONI, CARLO
Trade violins involving the expenditure of the comparatively small sums of five to eight pounds, and as such they are productive of favourable results in tone. Dated as from Cremona, 1888-1900. Reddish amber varnish. Label - copper-plate, having a design on left and right with the word registered underneath. 20, 1960.
----------------------------
Carlo Storioni
Cremonensis Faciebat
----------------------------
STORIONI, LORENZO
Born at Cremona, 1751. Worked at 3, Contrada Coltellai. Died there, 1802. The last of the Cremonese makers to evince any powers of originality, and the starting point of the gradual decadence of that school. Every line of modelling indicates his anxiety to meet the increasingly greater demand for strength and robust sonority of tone. Modelled many instruments after the long and wide proportions of a kind of Stradivarian design, but not always consistent with ideal grace. Occasionally the Bergonzi traits appealed to his highly cultivated conception of Herculean strength, but those bearing a resemblance to the Guarnerius are his most valued productions - these being very handsome as a rule. Workmanship (not so refined as that of famous predecessors in that little town) is at least always attractive, but suggests incompleteness rather than finished art, though there is never an absence of individuality at any point. Purfling (often narrow and running quite near the edge) affords striking evidence of insufficient self-criticism in its roughish inaccuracy of steadiness. Love of microscopic exactitude in cutting a scroll, is one that captivates most makers. Apparently Storioni did not possess this faculty to any great degree, and no scrolls of his are known that have not a strong element of unaccountable stiffness. Also never settled as to the shape and position of the sound-holes, and it is scarcely possible to find two instruments having these cut absolutely alike. Variable too in the selection of wood, particularly in point of vein, which is more often wide than narrow, but seemingly of unusually fine acoustical properties. Seldom bothered to secure handsome material for backs and ribs, apparently regarding straightness or beauty of flame as totally unimportant. Used a spirit varnish of a golden yellow shade with a reddish tinge, somewhat of hard surface more approaching the Neapolitan rather than the Cremonese, and much of it appears to have sunk into the wood. Best period, 1773-1795. Made instruments for important personages, having the edges and scroll embellished by black and white pearl inlay. Finest instruments have an altogether noble tone, completely full and sonorous, and also of silvery sweetness at times. Catalogued at 400, 1932 and worth more. One example of Guarnerian type, dated 1774, realised 5000 dollars in the U.S.A., 1930. Vieuxtemps achieved many of his virtuoso successes on a Storioni. Scores of instruments, comparatively of undignified design and rough workmanship, bear his label but it is highly probable that he had no hand in their creation. Some of his later violins have the backs lighter varnished than the tops. Only a few violas known. Body length, 15.12/16 inches. Produced several magnificently toned cellos which are enormously high priced. Finally several four-stringed double-basses are noted for their remarkable flexibility and sonority of tone.
------------------------------
Laurentius Storioni fecit
Cremonae. 1793
------------------------------
----------------------------------------
Laurentius Storioni Cremonensis
fecit Anno 17. .
----------------------------------------
-------------------------------------
Laurentius Storioni restauravit
Cremonae 1780
-------------------------------------
Sometimes branded L.S. also S on the peg-box. Also stated that he worked at Turin for a short time. Many trade violins of Tyrolese emanation, small model, not very high arching, owing to a depression from sides, wide purfling, pretty wood for backs, squat sound-holes, unattractive scroll, yellow-brown varnish. 800, 1960.
--------------------------------
Lorenzi Storioni
fecit anno 1786. Cremona
--------------------------------
STOSS, ALOIS (JOSEPH ALOIS)
Born 1787. Son of Magnus Stephan. Worked at Fuessen (Bavaria), 1810-1830. Instruments having the defects and excellencies of the Mittenwald school. Dark brown varnish. Tonal quality of no impelling sweetness or especial sonority.
STSS (STOESS), ANDREAS
Worked at Mittenwald, 1780-1796. Modelling furnishes a good representation of the Klotz school. Workmanship generally nicely finished. Sweet tonal quality but small, and the general utility of such instruments is questionable.
STOSS, BENEDICT
Worked at Hermannstadt, now known as Sihiiu (Roumania). Apprenticed to Leeb at Vienna; also associated with several workshops in Hungary.
-------------------------------------
Benedict Stoss Geigenmacher
in Hermannstadt 1803
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STOSS, BERNHARD.
Full name - Pius Bernhard Anton. Born at Fuessen, 1784. Youngest son of Franz. Removed to Vienna, 1809. Died there, 1854. Sound and judicious taste exercised in the whole design, one suggestive of Stradivarian ideas instead of the usual Amati or Stainer type. Some not unlike a Geissenhof. Also built a few of the Stainer outline and sound-holes, but without bulgy arching. Yellow or reddish varnish of really good texture. Broad veined belly wood a characteristic feature. 70, 1929. Produced violins with guitar-like bodies.
-------------------------
Bernardus Stoss
fecit Viennae, 1837
-------------------------
STOSS, EUSTACE
Born at Fuessen, 1752. Son of Johann Adam. Worked at St. Plten (Austria), and was an important citizen of the town, 1786-1820. Instruments showing his advantageous training in the Bavarian school. Appropriately if not altogether beautifully varnished.
------------------------------------
Eustachius Stoss in St. Plten
A 1804
------------------------------------
(decorative border, monogram and italic lettering)
Date always shown at extreme left on label.
STOSS, FLORIAN
Worked at St. Polten, 1810-1825. Son and pupil of the preceding. Stradivarian modelling somewhat freely treated. Reddish-brown varnish.
----------------------------------------
Florian Stoss Lauten und
Geigenmach: in St. Plten, 1815
----------------------------------------
STOSS, FRANZ
Worked at Klosterneuberg (Lower Austria). Son of Martin whose style he closely adhered to. Stradivarian and Amatese modelling. Did not acquit himself very satisfactorily with the poor quality varnish of a yellow-brown shade. Also violas only having the nucleus of a deep tone.
STOSS, FRANZ ANTON
Born at Fuessen, 1737. Died 1814. Son and pupil of Johann Adam. Discarded any predilections for the Stainer type, and selected the more graceful Amatese style. Also sometimes followed the outlines of the Stradivarius and Guarnerius, but always slightly longer and narrower. Medium arching of delightful graduation. Strongly veined belly wood of medium width, backs of slight figure. Reddish-brown varnish not free of objectionable dullness. Tonal quality fairly sonorous and responsive under a gentle bow. 35, 1932.
--------------------------
Franz Antoni Stoss
in Fessen am Troll
1801
--------------------------
(written and printed)
--------------------------
Franz Antoni Stoss
e Fessensis A=1798
--------------------------
(scrolled)
STOSS, FRANZ URBAN
Born 1711. Died 1798. Worked at Fuessen. Son and pupil of Hermann Joseph. Repairer to the Court at Innsbruck. Maker of chelys and other bass viols.
STOSS, HERMANN JOSEPH
Born 1680. Died 1765. Worked at Fuessen. Lutes and viols.
STOSS, IGNAZ
Son and pupil of Eustace. Worked at St. Plten, 1813. Only a few violins known, distinguished by the transparency of the reddish varnish. Built several cellos of three-quarter size, highly praised by connoisseurs.
STOSS, JOHANN BAPTIST
Born at Fuessen, 1784. Son and pupil of Magnus Stephan. Worked at Prague, 1816. Died of cholera, 1850. Concentrated in one focus of imitating the Prague modelling, arching and varnish, and his artistic aim met with suitable recognition. Altogether a clever craftsman who was assiduous in producing flawless work. Orange-yellow varnish of splendid texture.
---------------------------------------------------
Johann Stoss
Geigen und Guitarrenmacher
Alstadt Dominikanergasse No. 227, Prag
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STOSS, JOSEPH
Worked at Gnzburg (Bavaria), 1718.
STOSS, JOSEPH ANTON
Born 1707. Died 1780. Worked at Fuessen, Padua (or labelled his work to give the impression of Italian production), and Passau (Castra Batava). Particularly attracted towards the Guarnerian model, and left some highly creditable representations. Scrolls very skilfully executed. Inside work absolutely free from coarseness. Beautifully soft Italian-like varnish.
------------------------------
Josephus Antonius Stoss
Fecit Potavii 1729
------------------------------
STOSS, MAGNUS (MANG:) STEPHAN
Born 1748. Died 1820. Son and pupil of the preceding. Worked at Fuessen, and possibly Mittenwald. Violins that commend themselves to favourable notice. Nice medium arching not unlike some examples of Joseph Klotz.
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Mang. Stephanus Stoss
Geigenmacher in Fssen, 1792
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STOSS, MARTIN (JOHANN MARTIN)
Born at Fuessen, 1778. Son of Magnus Stephan. Settled at Vienna, 1802. Died there, 1838. Held first position in the Austrian metropolis for more than 30 years. Fine Amatese modelling triumphantly refuting the often asserted imputation that Austrian makers failed in grace of outline. Also built on Stradivarian lines, contour of splendid curvatures, but occasionally too massive to meet with entire approval. Cellos of especially excellent modelling, and warm quality of tone. First period instruments varnished dark brown of unsatisfactory elasticity. Used, from 1810, a golden-yellow of fair transparency, and subsequently one of rich reddish shade. Later period instruments invariably have very striking backs of broad flamed maple. Brought out several innovations concerning the sound-post and bass bar. Violins generally catalogued at 35, cellos at 55.
---------------------------
Martin Stoss
in der obern Breuner-
strasse No. 1209
in Wien, 1817
---------------------------
---------------------------------------
Martin Stoss
Kaiserlich Kniglicher
Hof Geigen und Lautenmacher
in Wien, 18. .
---------------------------------------
(with the Austrian Double-Eagle)
His widow (daughter of a Mittenwald violin-maker) controlled the business for several years after his death. 45. Cellos 85, 1960.
STSS, R. ARNOLD
Established at Markneukirchen, 1926. Specialist in the production of violin and cello bows.
STSSEL, GEORG
Born at Wrzburg, 1867. Happily apprenticed to the genial master Friedrich Wittstadt (inventor of the automatic money machine) who transmitted his predilection for innovations to most of his assistants. Proceeded to Vienna, worked for David Bittner, critically examined when repairing the many fine old instruments continuously pouring into that well-known establishment, engaged at Markneukirchen, and subsequently returned to Vienna to enter the workshop of Hamburger. Longing for a wandering life possessed him, 1889, worked at Budapest, Agram (Roumania), and several places in the Balkan States. Ultimately reached Italy, gained invaluable experience in Cremona and Venice, and became authoritative in all matters concerning the old Italian productions. Unfortunately met with a melancholy accident to his eyes, and was forced to pass through a very painful operation. Returned to Germany, went to Mittenwald, and Zurich, worked for Hrlein at Wurzburg, participated in the production of the Ritter alto-viola, and in 1900 settled at Cologne. An astonishing genius in marvellously imitating the old master violins, happily gifted with a fertile brain which ruled a hand full of resources. Also made several interesting excursions into tonal experiments.
-----------------------------
Rep. von Gg Stssel
fecit Colonia anno 1908
-----------------------------
Inventor of a viol-da-gamba, played as a Schossgeige (bowed melodian in viol form) placed among the cellos in some orchestras. Full length, 57.5 cm. Breadth of upper deck, 310 mm; height of ribs, 82 mm. Back, ribs and scroll made of the prettiest rose wood interlaced with bone, ebony, and brass. Tonal quality sonorously full and suggestive of a harmonium. Also created the legato-zither, another instrument having an innovated contrivance for sustaining the tone. Inventor of the Stssel-lute, small in size, specially designed for the populace to accompany themselves in songs, tuned in thirds.
STOTT, GEORGE THEODORE
Born at Yarley (Somerset), 1870. Took up violin making as a hobby, worried an overworked mind, taxed an often over-tired body, became infatuated with the art, and decided to become a professional. Settled at Liverpool, 1900. Died 1953. Modelling exclusively Stradivarian. Oil varnish, generally of golden-yellow shade, but also of red occasionally. Produced about 60 violins, violas, and cellos up to year 1925. Experimented to find the secret of the old Italian makers, regards varnish solely as a means of protection, and concluded that the problem lies entirely in the construction. Accomplished many successes in repairing, and his talents fortunately saved him from spells of inactivity.
----------------------------------------------
George T. Stott
Musical Instrument Maker, Liverpool
Fecit Anno 19. .
----------------------------------------------
STOUDT, CHARLES
Student at the Bretch School of Violin-making, 1924. Resident at Portland (Oregon), 1927.
STOUFFER, JAMES LEROY
Born at Earlville (Illinois), 1879. Student at the Bretch School of Violin-making, 1916. Established at Polk (Nebraska), 1920. Very adept at re-graduating old instruments.
STOURDZA. PRINCE GRGOIRE
Resident at Vienna, 1873. One of the many individuals who extended his ingenuity in the purposeless direction of upsetting the established scientific principles of violin structure culminating and finishing with Stradivari. Invented a quartet of instruments, entrusted the making of them to Zach at Vienna, and named them violino arpa and violino chitarra, etc. Conceived the notion of giving to the instruments greater fullness, sonority and richness to the tone, something approximately approaching that of human voices, but instead of arriving at that impossible perfection, he miserably retrogressed. Selected an elliptic form for this purpose. Right and left halves of the body unequal and somewhat dissimilar, and the whole certainly not symmetrical, besides being almost ridiculously ugly. Tonal quality of the violins apathetic and misty in rapid passages, snuffling and wheezy might be applied to the viola, and that of the cello rough and of reedy throatiness. Combined tone of the four instruments quite displeasing. The inventor (being financially opulent) solicited with open purse the services of several well-known quartet players to show off his invention at various concerts, but they signally and rightly failed to convince the public. Specimens preserved at the Paris Conservatoire.
STOWASSER, ADOLF
Worked at Gratz (Austria), 1780. Ordinary type of violins.
STOWASSER, JOHANN (JNOS)
Born in Bohemia, 1946. Had the hereditary and traditional influences of that violin country which have been handed down for ages. Settled at Budapest, 1867. Violins that can be regarded as distinguished in constructive solidity and rich varnish. Built on such a broad foundation their future usefulness is assured.
STRADIVARI, ANTONIO
Born 1644 at Bergamo, Italy. Died 18th December, 1737. Son of Alessandro Stradivari (born 1602), and Anna B. Moroni. Original name of his forefathers was Stradiverti. They were a distinguished family who had resided in Cremona for many years. The year of birth, 1644, of the master has been positively determined by Stradivari himself in a violin built in 1737 which bears the inscription dAnni 93. He was buried in the Rosary Chapel of San Domenico Cathedral, Cremona. Most of the information concerning Stradivari has been obtained from labels contained in the instruments he made, from notes he wrote himself, and from surviving memoirs taken down by Count Gozia and Marquis Rolande della Valle. Stradivaris assiduity is proved by the large number of instruments he made, details and history of which will be found in Antonio Stradivari - (written by the author of this Dictionary), - Amati Publishing Ltd. (1960).
STRADIVARI, FRANCESCO
Son and pupil of Antonio. Born at Cremona 1671. Died 1743. Worked with his father until the latters death, then with his brother Omobono. There is an obvious demarcation line separating the workmanship and design of the fathers and sons instruments. The younger could not cope with the illustrious and inimitable elder. Nevertheless, the productions of the former offer much in the way of structural solidity and beauty, though here and there we get touches of heaviness. Outline and arching completely graceful and quite Stradivarian. Edging splendidly rounded. Strong looking margins. Bold scroll, somewhat original, but possibly the least truly artistic part of instrument. Sound-holes seem less squarely cut than those of his father, though not in any particular defiance to those beautiful principles. Magnificent varnish of a golden-brown with reddish tinge, of glorious transparency and soft texture, applied with great perception of harmonious colour. Fine curly maple always signalises the backs. Tonal quality quite sonorously rich, having remarkable penetrative force as well as the softer singing timbre. Instruments dated from 1738 possibly partly constructed bodies left by father. Catalogued at 300, 1920. One specimen realised 4,000 dollars in the U.S.A. Also produced a few magnificent violas which evidence no enunciation of fanciful whims but are almost replicas of the dominating characteristics of his parents instruments, and have obtained the greatest admiration from all connoisseurs.
---------------------------------------------
Franciscus Stradivarius sub disciplina
A. Stradivarii 1700
---------------------------------------------
---------------------------------------------
Franciscus Stradivarius Cremonensis
filius Antonii faciebat Anno 1742
---------------------------------------------
Genuine examples not easily identified owing to substitution of fathers labels. 1,500 and upwards (1960).
STRADIVARI, OMOBONO
Son of Antonio. Born 1679. Died 1742. Worked with father and brother. Productivity comparatively small. Chiefly occupied himself with repairing and regulating. Modelling and workmanship not of the highest standard, except the scroll, but all conceived according to the prevailing artistic sense of his relatives. Nothing is diametrically opposed to anything set up by his father except the mitre of the purfling which is directed away from the waist curves. 1,200 upwards (1960).
---------------------------------------------
Omobonus Stradiuarius figlij Antonij
Cremone. Fecit Anno 1750. a.T.s.
c
---------------------------------------------
(very small and very neat lettering)
----------------------------------------
Homobonus Stradivarius
sub disciplina A. Stradivari 1725
----------------------------------------
--------------------------------------
Sotto la Disciplina dAntonio
Stradivari F, in Cremona 1724
--------------------------------------
STRANGEWOOD, F. E.
Worked at Melbourne (Australia) 1885-1900. Utilised native woods. Had manipulative skill not unassociated with artistic feeling. Internal structure given much scientific thought.
STRNSKY, ANTOINE
Established at Graslitz (Bohemia) 1925. Various grades of commercial stringed instruments, bows and accessories.
STRATI, MICHAEL
Worked at Verona (Italy) 1792. Outline reminiscent of the Guarnerius. Conspicuously acute edges. Definitely overdone slanting of the sound-holes. Excellent wood covered with yellow varnish. Moderately sweet tone, reedy, but not of great strength.
------------------
Michael Strati
Verona 1792
------------------
STRATON, REV. WARREN B.
Born 1907. Resident at Brooklyn (N.Y.) Studied painting and sculpture. Did much research to find out the peculiarities of the Crernonese varnish. Stradivarian and Guarnerian modelling, every detail clearly formed, especially the scrolls, varnish of pure gums, no artificial colouring, golden-yellow to deep red, tonal resonance satisfying many professional violinists.
STRATTON, JAMES
Amateur. Resident at Skipton (Yorkshire), 1924. Instruments varnished with the fine preparation by Angell of Bristol.
STRAUB, ANDREAS
Worked at Budapest. Died 1872. Customary Tyrolian modelling and brownish-yellow varnish of good texture.
STRAUB, BALTHASAR
Worked at Gratz (Austria) 1790-1828. Fine conceptions attained by a most splendid display of graceful lines, except a few specimens having fanciful heads (almost repellent) of a grimacing face. Beautifully finished edges. Golden-red varnish of warm tint. Instruments having physical and tonal attributes which cannot be criticised by fastidious connoisseurs.
STRAUB, FRANZ
Worked at Friedenweiller 1680-1698. Small violins and cellos, also pocket fiddles.
STRAUB, JOHANN
Born 1760. Died 1847. Worked at Rthenbach (near Black Forest). Instruments somewhat similar to those of Rief at Vils. Conventional representations by an unambitious maker. Outline without symmetrical curvatures. Belly graduation rather clumsy. Manipulation of scroll more or less contemptible. Sound-holes have certain inartistic points. Purfling not at all regular. Wood treated chemically. Varnish not luminous in shade nor of good quality. Artificial and feeble tonal quality. Worked in winter, and travelled the country markets during summer.
STRAUB, JOHANN GEORG
Born 1798. Died 1854. Worked at Rthenbach and Lffingen. Neglected violin making to some extent in his ripening years, became a fiddler at public-houses and in village streets, also repaired anything brought to him. In those days Lffingen was the meeting place of all the Black Forest agriculturists and traders, and there his merry fiddling was received uproariously. Bemused his senses through frequent inebriation, and ultimately became a confirmed drunkard. Had certain natural talents for violin structure, but no artistic incentive to produce anything other than what he could do in the quickest time. Though frequently of unrefined workmanship, some of the instruments have a really serviceable tone.
------------------------------------
Johann Straub
Geigenmacher in Rthenbach
------------------------------------
(lithographic)
STRAUB, JOSEF
Son of Simon (2). Worked at Rthenbach 1783-1811. Modelling of considerable breadth and moderately high arching. Nothing especially graceful, though never inelegant. Dark varnish susceptible to streakiness.
STRAUB, MARKUS (1)
Worked at Freidenweiler (Black Forest) 1750-1758. No indiscriminate points in the modelling except its mediocrity.
STRAUB, MARKUS (2)
Worked at Rthenbach and Lffinger, 1770-1780. One of the best talented members of the family. Modelling reminiscent of Tyrolean influence. Reasonably good workmanship and varnish. Apparently no physical defect of internal parts. Tonal quality not strong, but acceptably sweet.
STRAUB, MARTIN
Worked at Vrach (Black Forest), 1760. Palpable enough that he only had the miserable self-complacency of being contented with wretched wood and varnish and equally wretched manipulation of both. Tonal quality altogether displeasing.
STRAUB, MATTHIAS
Worked at Friedenweiler (1745-1762). Structural unity nicely maintained in every part. Sound-holes well shaped. Terminal of scroll boss deftly finished off. Generally unpurfled. Belly wood often of soft pine of close fibre, and almost plain material for backs. Muddy looking varnish of dark shade. Tonal quality unequal in emission, cloudy in lower register, but faitly bright in the high.
STRAUB, MICHEL
Worked at Venice after wandering from Germany; at Innsbruck (Tyrol) 1677-1679; and again at Venice until 1686. Lutes, viols, and a few violins. Notwithstanding his somewhat cultivated resources, he failed to impart anything superior to the Italians. Pocket fiddle in form of a rebec preserved at Brussels Conservatoire.
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Michel Straub
in Venezia 1680
--------------------
STRAUB, SIMON (1)
The most successful maker in this family, worked 1700-1730. Good modelling but without distinctive traits. General character similar to the Tyrolese. Workmanship is smooth when viewed in comparison with that of the other Straubs. Varnish of fair lustre but a trifle hard in substance. Viola-vastarda in the famous Snoeck Collection. Body length 45 cm; deeply depressed ribs 7-1/2 cm. in height; lion-head scroll delicately carved. Also a few double-basses known.
------------------------
Simon Straub von
Friedenweiller 1706
------------------------
STRAUB, SIMON (2)
Worked at Rthenbach 1765-1783. Instruments generally violating the condition of having belly and back of similar arching. Not a truly graceful outline or of nice graduation. Excellent belly wood, backs often of unflamed material, scrolls of pear-tree wood, and finger boards of beech tree. Occasionally a specimen blossoms out with a fairly good tone.
STRAUBE, JOHANN AUGUSTIN
Worked at his birthplace, Neustadt, 1745; and at Berlin 1764. Died 1802. Moderately high arching without beautiful graduation - few characteristics to delight the eye. Each instrument well built, but no two exactly similar structurally, and this varying propensity has prevented full attainment of the makers powers - talents which would have produced something really impressive if his course of action had been guided by fixed principles. Lower turn of sound-hole spread out. Scroll shows boldness united to fair skill in cutting. Large and broad button - typically German. Warm looking light-brown varnish. Excellent quality of woods. Tonal quality may excite purchasers up to about 30.
-------------------------------------------
Johann Augustin Straube
Musicalischer Instrumentenmacher
fecit a Berlin Anno 1786
-------------------------------------------
STRAUBE, JOHANN GUSTAV
Worked at Berlin 1885-1923. Rather under-sized modelling. High arching and narrow waist curves. Semi-straight Stainerish sound-holes, too squat for gracefulness. Insignificant looking scroll, purfling very near to edges. Golden brown varnish of dark shade, unevenly applied. Entire agroupment of non-charming traits to which category the tonal quality may be included.
----------------------------------
Johannes Gustavus Straube
fecit Berlin 1887
----------------------------------
(Gothic lettering)
STRAUBLE, E. H.
Worked at Brooklyn (New York). Died 1918.
STRAUSS, JOSEPH
Worked at Neustadt (Black Forest) 1750-1775. Moderately high arching etc. Probably a mis-reading of a flourishy b in the name Straub.
STREETS, JAMES
Amateur. Resident at Sunderland 1900. Instruments affording gratification to the eye and ear. A maker who enlisted his best discriminatory powers in selecting wood and treating it artistically in workmanship and varnish.
STRIEBIG, JEAN
Born 1910. Established at Mirecourt 1935. Splendid individualistic models, in addition to admirable copies of standard types.
---------------------------------------------
Jean Striebig. Matre Luthier
8, Rue Estivant, Mirecourt (Vosges)
No. . . . Anne 19. .
---------------------------------------------
STRELLINI
Name given to violins made by a noted Parisian maker, 1925. Entirely produced by hand, and of exquisite finish. Judiciously chosen belly wood of narrow and strong fibre, and lovely material for backs. Varnish (prepared on some newly discovered Cremona basis) of translucent constitution and velvety warm tints, not only showing up the wood undulations, but materially affecting the vibrations. Distinctive personality to each instrument, through a unique method of varying the shades of varnish. Tonal brilliance and sonority comparable with any modern violin.
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Strellini H/S. 29, Rue
No.- Paris, le - de Rome
------------------------------
STRITZKO, CHRISTOPH
Worked at Breslau (Silesia), 1710. Repaired stringed instruments, but principally employed as a maker of wind instruments.
STRNAD, CASPAR
Born 1752. Died 1823. Pupil of Hulinzky. Worked at Prague. Complete embodiment of strength and refinement in the design. Body length generally 14.3/16 inches. Everything very ingeniously harmonised. Outline somewhat reminiscent of the large Stradivarius. Arching however commences its slight rise a little sooner than the Italian, a characteristic Bohemian trait. Fine breadth across upper and lower bouts, also a fairly wide waist. Splendidly rounded edges and purfling placed very close. Scroll inspired by the Stainer, harmony of line not always there, and generally lacking in dignity. Small sound-holes endowed with artistry, and admirably posed. Frequently fire grained belly wood, and backs of the loveliest broad flame. Wonderful dark shade of reddish-brown oil varnish on a golden ground, completely translucent, occasionally a lighter tinted golden blown. Along this particular route various qualifications are required, imagination, abstract faculties, great knowledge of the application, and a special sense of the picturesque. Strnad had them all, and the one-piece backs of his instruments have a gorgeous appearance. One of the first at Prague to discard the Stainer bulge and follow somewhat warily in the trend of the Cremonese. Tonal quality never quite good enough for soloists. 30, 1920. Produced several violas, usually regarded as more impressive in tonal beauty than the violins. Also cellos, double-basses, and guitars. 70, 1960.
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Caspar Strnad
Fecit Pragae Anno 1793
------------------------------
(with design in centre of a lute and viol crossed)
Small wreath encircling the letters C.S. under surname.
Several German factories turn out hundreds of marvellous replicas of the Strnad violins at small cost.
STROEBEL, KARL FRIEDRICH
Born at Markneukirchen 1884. Worked at Dresden 1921.
STROBL, ELIAS
Town fiddler at Hallein. Died 1678. Repaired instruments and made violins.
STROBL, JOHANN (1)
Son of Elias. Born 1657. Died 1717. Worked at Hallein (Austria). Enjoyed all possible popularity in his district. Certain points of excellence indicated in the high modelling, arching ingeniously avoiding the bulgy. Curves, elevations, and depressions in the cutting of scroll rather irregular. Sound-holes altogether inelegant in pose and curvature. Faulty purfling, sometimes none at all. Poor quality dark varnish, thick and lustreless. Lethargic tonal quality except for an occasional unpleasant nasal timbre of certain notes which are sufficiently energetic to disturb the rest. Violas and cellos frequently have small carved heads in lieu of a scroll.
-----------------------------------
Johann Strobl,Geigenmacher
in Hallein 1714
-----------------------------------
Other labels give the name Strobl.
STROBL, JOHANN (2)
Born at Hallein 1700. Son of the preceding. Worked at Prague and Olmtz (Bohemia). Modelling of medium size, some specimens rather reminiscent of those of J. Hellmer. Sometimes favoured high arching, other times reduced it to a prettier moderation. Brilliant yellow and reddish-brown shades of varnish. Tonal quality not particularly bright.
------------------------------
Johann Strobl
Lauten und Geigen
macher in Olmtz, 1741
------------------------------
(with design of griffin and lute)
STROBL, MICHAEL
Born 1867. Studied at Mittenwald. Established at Berlin 1894-1925. Produced many instruments of classic design. Set up for himself, under impulse of extensive patronage, an ideal which kept his activities from pandering to the cheapest market. Also aspired to make bows equal in balance and strength to those of the French.
STROBL, TOBIAS
Born 1670. Worked at Krems (Austria) from 1726. Died in the poorhouse in 93rd year. Highly arched instruments. Succeeded tolerably well considering his reckless manner of choosing material.
---------------------
Tobias Strobl
Geigenmacher
in Crembs. 1726
---------------------
STRODL, JOHN
Cheap-looking, ugly instruments varnished brown.
STRM
Worked at Helsingborg (Swedish seaport), 1890. Died 1907. Instruments bearing the necessary desideratum in design and tone. Modelling furnishes a steady adherence to the Cremonese.
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Strm, Helsingborg 1895
------------------------------
(written)
STRONG, JOHN
Viol of unique shape with double purfling, exhibited at South Kensington, 1872.
STRONG, MATTHEW
Resident at Huddersfield 1860-1880.
STRTZ, ERWIN
Born 1898. Worked at Markneukirchen. Died 1950. Conscientious work.
STRTZ, FRANZ
Worked at Schnbach, 1910. Very ordinary instruments.
STRTZ, JOSEPH
Born 1715. Worked at Neukirchen. Died 1760. Regarded as the best Bavarian bow maker, whose specimens are sought eagerly. 20, 1960.
STRTZ, KARL
Worked at Schnbach 1920. Nothing outstanding in these rather commonplace productions.
STRTZINGER, RUDOLF
Born 1822. Pupil of Engleder. Worked at Linz (Austria). Died 1872.
STRUBLE, DAVID G.
Born at Orion (Michigan) 1855. Worked at Washington. Made first instrument 1872. Disappointed with the worthlessness of the tone, began a long series of experiments, endeavouring to ameliorate tonal quality of cheap instruments. Finally became most successful in every trial of re-graduation and rebuilding. Never worked for, or trained by any maker. Made own violins from the block since 1902 - not buying them in the white and merely varnishing them as many so-called makers do. Produced 150 splendidly worked and wooded specimens up to the year 1927. Modelling principally Stradivarian, but also a few of the Guarnerian and Amatese. No connoisseur has ever reproached him in the matter of workmanship, and no player has given bent to maledictory remarks concerning the tone. Utilised all shades of oil varnish but the ground is invariably yellow. Blocks and linings of willow. Used woods from all parts of the universe, both old and that cut but a few years. Finally decided that recently cut material is better for tonal brightness. Believed that Engelman spruce (American wood growing in the western mountain regions) and native maple not to be surpassed by any from Europe. Had no secrets, and ridiculed the notions of experimental faddists etc. Instruments highly extolled by every grade of violinist.
----------------------------------
Made
by
D. G. Struble
Washington D.C. Jan. 1927
----------------------------------
(with decorative border; either written, printed or typed)
STRUNZ, WERNER
Born 1905. Worked at Markneukirchen. Conscientious work.
STRUVE, HEINRICH
Worked at Arendsee (Altmark), 1900.
STBER, JOHANN
Born in Swabia 1888. Established at The Hague 1921. Won diploma at local exhibition 1949. At first, Strad and Guarnerian modelling, later his own combining characteristics of both. Golden-brown varnish. Name usually inscribed in ink with date and city on top and back inside, instead of label.
STBIGER, ADAM
Born 1859. Pupil of J. Lutz at Schnbach. Established at Fleissen (Bohemia), 1884-1925. Had gifts embracing all the subtleties of executive legerdemain. Not restricted to any particular model. All adaptable means of varnishing successfully essayed.
STBIGER, ADOLF
Born 1897. Son and pupil of J.F. Worked at Vienna. Member of the symphonic orchestra in that city. Succeeded father 1938. Similar modelling and varnish.
STBIGER, FRIEDRICH
Factory at Fliessen, 1928. Violins, cellos, double-basses, guitars and bows.
STBIGER, JOHANN FRIEDRICH
Born at Fleissen 1864. Worked for Zach at Vienna. Established own premises in the Austrian metropolis, 1891. Died 1938. Never experienced a failure with initiatory productions. Handsome flat modelling highly suggestive of the Stradivarian. Masterly skill exhibited everywhere. Scroll and sound-holes felicitously posed. Fine shade of reddish varnish. All internal work done with academic accuracy. Tonal quality orchestral. 20, 1920.
STUGUFORS, ERIK ALEXIS
Born 1899. Resident at Stugun (Sweden). Won silver medal at Sundvall 1928. Excellent Strad modelling, especially well carved scrolls.
STMPEL. H. C.
Born 1838. Worked at Minden (Westphalia), 1860-1900. By acquaintance with books and the many theories therein, his mind was opened, views enlarged, and curiosity excited. Incited to travel to Italy for the purpose of further enlightenment. Had the discernment of comparing the different schools of violin structure in that country, and delved into the various traditions of the old masters. After return to Westphalia however, he gradually cultivated a passion for novelty and singularity, and, to gratify this inborn avidity of human nature, he began a series of experiments. Many proved absurd and exploded his imaginings, and naturally were relinquished as puerilities. Ultimately arrived at the goal aimed at, and brought out tone violins to which he claimed to have imparted Italian tonal quality. Retained outline and arching set up by Stradivarius and Guarnerius, but applied an entirely new system of thicknesses, circulatory means of vibration, and certain innovations concerning the bass bar. Turned out truly well designed instruments and set the public crazy by offering them at the excessively small price of forty shillings. Astonishing productivity of a rapid and ingenious craftsman. Every detail of workmanship satisfied the dictates of the connoisseurs critical delicacy, but tonally the instruments were found to only have the ordinary emission of the new. Almost exclusively used balsam pine for the belly as he thought it allowed quicker vibration. Did not make any violins after the year 1900. Invented various appliances for makers, including compasses to measure wood thicknesses.
-------------------------------
H. C. Stmpel
M i W
1893
Facon Pablo de Sarasate
-------------------------------
(with diagram representing the inside of belly graduated in ovals and circles, with a thick dark bass-bar line to illustrate his pet theories).
Other models bear the names Facon Bagatella (high bellied), Guarnerius, Stradivarius, Faust (very flat), Joachim (medium arching), Vieuxtemps etc. 45, 65, 85 according to model, 1960.
STRTZER, JOHANN MICHAEL
Worked at Breslau 1746-1760. Modelling reminiscent of the Stainer school. Cellos and double-basses superior to the violins. Modelling heavy and inelegant. No vestiges of grace in the sound-holes or scroll. Whole contour not particularly symmetrical. Dark shade of varnish, sometimes thinly applied.
---------------------------------
Johann Michael Strtzer
Lauten und Geigenmacher
in Breslau 1748
---------------------------------
STUTZ, J. L.
Violinist and conductor at Lucerne, 1790-1830. Produced several skilfully-made violins.
Son (with same Christian names) also made violins, 1840.
STYFFE, PER
Born 1890. Amateur at Gltz (Sweden).
STYMOVICZ, ANTON CASIMIR
Worked at Iserlohn (Westphalia). Died 1908. Violins with innovated bass bar.
STYRMAN, MATTIAS
Born 1912. Amateur at Karungi (Sweden).
SUCCO, JOHANN REINHOLD
Born 1842. Died 1908. Pupil of A. Freytag. Worked at Riga (Latvia) 1865. Admirable workmanship. Varnish opaque and hard. Tonal quality forsaken of appreciable virtues in sweetness but fairly brilliant. Also built estimable instruments in the Russian style.
SUESS, JOHANN CHRISTIAN
Born 1829. Died 1900. Worked at Dresden and Markneukirchen. Probably the highest reputed bow maker in Germany. Probationary years given to making common bows of beech wood, and disposed of at the cheapest markets. Subsequently studied the art seriously with Knopf at Dresden; and ultimately attained the most adroit skill. Bows founded on the flowing lines of the Tourte and Voirin, but realised in such a manner as to have certain traits of individuality. Dark red sticks. Art of balance, elasticity, and strength exemplified to a hairs breadth. Universally given the title of the German Tourte. One of the first to stain the sticks. Actual maker of the celebrated Weichold bows when he worked at Dresden. 35, 1960.
SUESS, JOHANN GEORG
Established at Adorf (Saxony), 18th century. Violins and cellos bearing his name produced at Mittenwald or Markneukirchen. All have the baneful touch of the commonplace.
SUESSDORF, AUGUST
Had a turners workshop, and repaired violins at Strassburg 1908. Later developed into a professional.
SUETTERLIN, J. FRIEDRICH
Born at Egisholz-Wollbach (Upper Baden) 1846. Son of an opulent agriculturist, and was intended to follow the same business. Something within him opposed the mercantile. Became, during young years, attracted to violin structure, profited by experiences in Hartmanns workshop at Frankfort, and decided on professionalism. Worked for Lembck at Vienna 1871, and built 25 violins during the next three years, besides being much engaged in repair work. Established himself at Strassburg, 1874. Some years later his instruments attracted the virtuoso Wilhelmj, who persuaded him to remove to Wiesbaden. Died 1893. Modelling, though slightly contradictory to the Stradivarian, has all the attributes of grandeur. Purfling shows no unworthy tracing of this difficult art. Unerring hand in manipulation of the scroll, and most happily posed. Sound-holes characterised by all possible grace and perfect symmetry. Lovely varnish of own preparation, and application guided by remembrance of the Cremonese. Of beautiful transparency showing up the undulating wood shades. Had the drawback however, of requiring at least six months to dry, and even then, was often viscous. Made several experiments with balsam pine particularly in relation to the bass bar. 80, 1960.
-----------------------------
Friedrich Suetterlin
fecit Argentertum 1872
-----------------------------
SUFFIELD, ROBERT M.
Resident at Oakland (California), 1920-1926. Conventional violins.
SUITTNER, JOHANN
Born 1822. Pupil of Tiefenbrunner (Munich). Worked at Mittenwald from 1855. Died 1907. Violins having all apparent dash of the skilful Bavarian craftsmanship. Red oil varnish.
SUITTNER, JOSEPH
Worked at Mittenwald 1780-1790. Stainer characteristics all ably brought forward. Workmanship quite consistent with refinement. Straightish Stainer sound-holes, but nicely curved and pleasingly posed. Scroll distinctively elegant. Golden-yellow varnish of soft constituency, and very creditably applied. Lines of purfling most accurately parallel. Excellent belly wood. Backs usually of one piece. Tonal quality only of moderate penetrativeness.
------------------------
Joseph Suittner
in Mittenwald 1788
------------------------
(written)
SULOT (SULEAU), NICOLAS
Violinist at Dijon 1830; and at Paris 1840. Conceived certain theories for making violins, violas, cellos and double-basses which were made by an expert at Dijon. An innovation consisting of small arches placed in the middle of the belly; slight undulations to obtain greater freedom of vibration, and increased sonority. Practically instruments with two harmonic tables. Titled Violon double echo. Some specimens have the ribs similarly undulated. Fantastic idea quickly condemned.
SUMBULOGLOU
Born in Turkey 1884. Made oriental instruments at first, later turning his attention to violins and cellos modelled on European styles. Not labelled - simply branded M.
SUNDGREN, N. J.
Born 1870. Resident at Lulea (Sweden). Produced 45 violins and 3 cellos.
SUNDMAN, KARL ERIK
Born 1873. Resident at Ster (Sweden).
SUNDSTRM, KARL LUDVIG
Born 1894. Resident at Norwiken (Sweden). Won several gold medals, 1925-1930 for good designs and workmanship.
SUNDSTRM, OSCAR
Resident at Denver (Colorado), 1925. Nice modelling, pretty varnish.
SUNDVISSON, HALVAR
Born 1917. Resident at Haskfors (Sweden). Well conceived designs yellow-brown varnish.
SUROW, E. F.
Worked at Moscow 1885. Specialist in Russian guitars, small and large. Also made a few violins in Russian style - bevelled edges.
SSS
see SUESS.
SUTER, ALOYS
Worked at Nieder-Urnen, Brunnen, and Nfels (Switzerland), 1842-1870. Spent a few years in Paris. Located at Newark (New Jersey) 1880. Honestly-made instruments, totally devoid of any attempts to infuse so-called structural secrets. Large modelling of plumpish outline, but with fine sweep of curve. Superfine accuracy and smoothness in purfling. Well cut sound-holes, and scroll posed with dignified masculinity. Very fine grained belly wood and pretty backs. Seedlac varnish with a little castor oil in it, on a coffee coloured ground, and in shades of dragons blood, red, brownish-golden, and walnut shell. Tonal quality more French than Italian, very resonant,and now grandly maturing to real soloists tone.
---------------------------
Alois Suter
Instrumentenmacher
1860
Brunnen. Ct. Schwyz
---------------------------
(painted)
SUTHERLAND, DONALD
Established at Melbourne (Australia) 1925. Several violins and cellos made of native woods.
SUTOR, JOHANN MARTIN
Born 1684. Died 1758. Worked at Vienna. Did not produce any instruments until 1749. Modelling rather reminiscent of the Viennese Fichtal. Little emanated from him that may be appellated higher than ordinary, whether concerning design or workmanship. Varnish indicative of good taste in its application, though not very transparert.
-----------------------------------
Johann Martin Sutor
brgerl: Lauten und
Geigenmacher in Wien 17 . .
-----------------------------------
STTERLIN
see SUETTERLIN.
SUZUKI, MASAKICHI
Largest manufacturer of stringed instruments in the Orient (1920). Early days chiefly occupied in making native instruments such as koto and samisen. In 1884 an ordinary violin was taken as a curiosity to his country, and from this he created the first violin actually made in Japan. Established three factories at Nagoya, 1890-1930, and produced very large numbers of violins, bows, and mandolines, employing about one thousand workmen to operate the various machines specially built and designed for this particular work. Maple wood used for backs and ribs, tables of red pine of Hokkaido. Outline somewhat Stradivarian; thickly wooded. Brown varnish with greenish touches. Exhibited at Chicago 1893, and won praise for his work. Also won gold medal at Philadelphia, 1927.
----------------------------
Masakichi Suzuki
No 3455 Nagoya 1926
----------------------------
SVANSTRM, ANDERS
Born 1766. Died in the poor-house, 1833. Worked at Strengns (Sweden). Probably learned the art at Stockholm. Design and workmanship a considerable way behind some prototypes, nevertheless not without a modicum of merit. Rather successful in varnishing. Tonal quality particularly clear though more blatant in brilliancy than of persuasive sweetness. Specimen dated 1797 in the Museum at Stockholm.
---------------------
Frfrdigad af
A. Svanstrm
i Strengns 1798
---------------------
(written)
SVARZI, G.
Instruments of artistic design and solid structure. Scroll and sound-holes cleanly cut. Yellow varnish. Brilliant tonal quality of good carrying power.
SVENSSON, CARL BERNARD
Born 1892. Resident at Orebr (Sweden).
SVENSSON, CARL JOHAN
Born 1874. Resident at Stockholm. Good workmanship.
SVENSSON, ERIK VILHELM
Born 1880. Resident at Lnneberga (Sweden).
SVITRA, JULIUS
Born in Lithuania, 1888. Initiated into the structural elements and varnishing etc. at the Violin-making School, Mittenwald, 1904-1906. Went to the United States, 1906, found employment in various workshops in several towns. Opened premises at Newark (New Jersey) 1912, and established at Chicago 1924. First violin, with own label, built in 1912. Followed Stradivarian and Guamerian models until 1917, then originated his own model. Produced 100 up to the year 1930. All specimens dated since 1917 have what he termed, the Lithuanian tonal quality. Also claimed that its timbre was equal to any and superior to many of the old master violins, ard that its purity and tremendous penetrative power had been created by an absolutely unique secret process of chemicalising the plates. Golden-brown, dark orange-red and autumnal brown shades of oil varnish applied in a most picturesque manner. Woods of the choicest obtainable. Won Diploma of Honour at the Philadeplhia Exposition 1926. Instruments truly of grand conception, the whole design having a perfect unison of undulations. Label - distinctive, bearing the Lithuanian Seal and large spreading wings.
-------------------------------------------
Julius Svitra
The Lithuanian Tone
Chicago U.S.A. Anno Domini 19. .
-------------------------------------------
SWAINE, SEORIM
Born at Strafford (New Hampshire) 1849. Studied the art with J. O. McCauley of Boston and Worcester. Settled at Rochester as a printer, etc., and repaired violins as a side-line. Died 1929. Did not produce first instrument until 1910, his 60th year. Earlier years occupied in experimenting, particularly in graduations. Total productivity up to the year 1925 amounted to 80 instruments, an energising output for a man of such advanced age. Stradivarian outline and sound-holes. Combination of the Stradivarian and Guarnerian in the arching. Elliptical swell of plates - 8/16th of an inch rise for top; 6/16 for back. Plates 1/16th thicker than the Stradivarian. Believed that overweight plates give a singing tonal quality which cannot be obtained by the employment of thinner material, and published an interesting advertising pamphlet on the subject. Average weight of each violin, 17 ounces. All measurement details precisely attended to, but workmanship not consistently well finished, though good enough for the generality of his customers. Neck well set, and purfling nicely laid. Oil varnish of many shades, light yellow to dark brown, and several reds - golden-orange perhaps being the most favoured and often very transparent. Varying tonal quality, some muffled, others generally loud but not always penetrating but none really harsh, and so the years must pass for proper maturity. Built a violin, 1925, on the following experimental lines - Saturated the wood, top and back (in the rough before glueing) in sea water. Varnished with a spirit preparation made up of one drachm each of gums sandarach and mastic, 6-1/2 drachms of shellac, 2 drops of castor oil, and a certain quantity of alcohol. Tonal result highly satisfactory to the maker, and several similar examples followed in rapid succession, but never could he determine whether to attribute the consummation to the salt water or to the varnish. Cremona makers favoured wood which had been rafted by sea from the Swiss Cantons to Italy, and Swaines idea doubtless originated from this fact. For each special violin an individual bridge was cut. His instruments are not irreproachable in the matter of design or workmanship, and must be regarded as emanations from a particularly serious and enthusiastic art tryer who selected and embodied that which was good and appropriate from the various examples of past ages. Educated his hand and eye so thoroughly with the proper study of the ancients that the slightest touches of inelegance and impropriety of ensemble on his own productions were immediately detected, repudiated and quickly obliterated before disposing of them. Had a predilection for American wood, and chose it with the greatest care. Tried maple and spruce in all grades of hardness and grain, from the swampy lowlands to that grown in the open or upon the mountain side, where the storm winds beat and toughen the fibres of the tree during the long years of existence. Wood that had died on the stump or from trees killed by lightning was unfit for his purpose, as it has a tendency to a double tone, sometimes so much as to cause a kind of throbbing within the instrument. Persistently avoided kiln drying, as such a process tends to warp and contract the cells from their natural shape. Possessed a compound microscope which displayed all structural secrets in different woods, and made a very minute study of the variety of cell arrangements. Obtained knowledge of the nature of wood by cutting and examining it in at least two directions, across and along. Considered that he had better results with well seasoned new wood which had fully matured in the tree than from sapling wood which had been ageing for centuries. Removed no resinous property by boiling or otherwise, as it should remain to hold the cells in their normal condition while shrinking, and to support the strength of wood when seasoned.
Any solution which removes it will also extract and destroy other properties of the tissues which constitute the life of the wood. This sap or resin finally turns to dust, as can be tested by working very old wood, and absorbs the moisture of the atmosphere, which would otherwise affect the tone. Preferred medium spruce, not too hard, but white, brilliant and silk-like when split open, the grains from 14 to 18 to the inch, running from top to bottom of the table, that is, the wood cut on the quarter; and maple, not spotted in any way, of a silvery colour, hard, not tough, but crisp and brittle.
--------------------------------------------
Made by
Seorim Swaine
Rochester. New Hampshire. U.S.A.
No. . . 19 . . .
--------------------------------------------
SWANSTON, LEO
Born at Edinburgh 1868. Settled at Newcastle-on-Tyne as a cabinet maker, 1890. Died 1906. Made about a dozen violins in leisure hours. Purely amateur work but refreshingly sincere. Orange shade of varnish. Tonal quality generously responsive if not especially sweet.
-------------------------
Leo Swanston
1904
Newcastle-on-Tyne
-------------------------
(written)
SWARTS, JOHANN
Pupil of Boumeester. Worked at Amsterdam, 17th century.
SWAYSGOOD, D. E.
Born 1866. Amateur. Resident at Defiance (Ohio) 1930. Made several excellent Copies of a Peter Guarnerius (dated 1695). Also good bows with Tourte-like heads.
SWEARINGEN, ALFRED R.
Born at Shelby (Ohio) 1897. Pupil of Franois Simonin. Owner of some of the original tools and patterns of J. B. Vuillaume bequeathed to him at the death of Simonin. Established at Miami 1924. Not a slavish copyist of old master violins, but everything based on their art principles. Conceptions of a fertile designer and scientific researcher. Careful scanning gives the feeling that something besides mere structural beauty is engendered, and that is, a particularly reedy tonal quality.
--------------------------------
Alfred R. Swearingen A S
Violin-Maker
Miami - Fla - U.S.A.
--------------------------------
SWEET, R. BENJAMIN
Born 1894. Resident at Springfield (Ill.) 1925. Excellent copies of the Joachim Strad - reddish-brown varnish.
---------------------------------
Richard B. Sweet
Violin Maker and Repairer
Springfield, Illinois, 1929
---------------------------------
SWENI, LARS
Worked at Christiania (Norway) 1823.
SYDE
see VAN DER SYDE.
SYKORA, IGNAZ
Established at Schnbach (Bohemia) 1925.
SYKORA, MATTHIAS
Worked at Trebitsch (Bohemia) 1829-1852. Outline and arching nicely delineated. Sound-holes and scroll not so impressive, the central aperture of the former not being finely graduated. Violins, cellos, and guitars.
SYLLER, VEIT
Worked at Bollingen (Bavaria), where he was in considerable request as a fiddler. Design not devoid of a modicum of merit. Scroll deficient in dignity. Entire conception reminiscent of the Fuessen school. Viola preserved at the Linz Museum.
SYRBIUS, OTTO
Worked at Hannover 1890. Good Cremonese copies, also model of his own.
SYVARTH,CONRAD HEINRICH
Worked at Oldenberg (Germany) 1823-1838. Principally engaged in violin making, but also produced harps and guitars.
SZAG, GEORG
Worked at Leipzig 1885 - principal atelier in that city. Went to America 1887. Built new violins for 10 guineas. Modelling partly Stradivarian with certain slight modifications of his own. Instruments well worthy to enlist the attention of connoisseurs, to gratify the eye, and amply providing satisfaction through the agency of the tone. Structurally perfect, no uncouth details, and no meretricious faking of inside parts. Varnish elicits lofty feelings which artistry always calls forth.
------------------------------
Georg Szag
Geigenmacher
Knigsplatz 71. Leipzig
1886
------------------------------
SZALAY, GYULA
Brother of Istvn. Pupil of Zach. Worked some years in Hungary, then went to Russia.
SZALAY, STEFAN (ISTVN)
Pupil of Engleder and Zach. Workes at Szkes Fehrvr (Hungary), 1880. Died 1907. Small productivity, but the few are worthy of admiration. Modelling meretorious in curvature and arching. Dignified scroll, and reposeful sound-holes.
---------------------------
Javitotta SzalayIstvn
Szkesfehrvr 1883
---------------------------
(written)
SZENDREY, JOSEPH
Hungarian. Pupil of Toth (Budapest). Killed in war, 1944. Made several finetoned violins and cellos which are highly valued for superb workmanship and varnish.
SZENTESSY, KLMN
Worked principally for Schunda at Budapest. Pupil of Zach at Vienna. Died at a youthful age, 1859.
SZEPESSY, BLA
Born at Budapert 1856. Apprenticed to Nemessnyi - worked for Zach at Vienna, came to London 1881. Died in the Tyrol 1925. Magnificent modelling, mostly Guarnerian of robust character, also Stradivarian, and occasionally an Amati. Workmanship absolutely flawless. Varnish of particularly soft texture, flaming red, yellowish-red, and ruddy brown, often applied in a very original manner, conceived some remarkable variegated colour schemes. Superb tonal strength, only to be properly appreciated by future generations. Also large and deep-ribbed violas, wonderful tone though perhaps slightly lacking in flexibility. 80, 1960.
-----------------------
Szeppessy Bla
London 1888 +
Sz+B
No. 48
-----------------------
--------------------------
Szepessy Bla
London 1889 +
No. + 146
-----
-------------------------
SZYMNSKI
see SCHIMANSKY.