TACHET, FRANOIS
Born at Mirecourt 1784. Worked for Brard Brothers at Avignon 1812. Stradivarian and Amatese modelling revealing considerable dignity; warm yellow varnish.
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Fait par Tachet chez Brard
Frres Avignon, 1812
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TACQUA
Bows modelled in some sort of conformity to the standard types. Stamped Tacqua Paris.
TACKE, WILHELM
Repairer, 1840-1850 at Dsseldorf. Invariably washed off the old varnish and substituted a spirit concoction.
TADOLINI, GIUSEPPE
Born at Bologna 1796. Cellist and contra-bassist at the Modena Court. Died 1870. Very nice instruments, and bows of fine balance.
TALEVIUS, ANTONIUS
Worked at Ancona (Italy) 1820-1830. Modelling accordant with artistry. Clear, mellow tone. 30, 1936; 75, 1960.
TALEVNA
Curiously ugly violins. Absolutely mediocre or worse. Front part of peg-box has an extra cutting for an inlay of ivory. Corners and other places inlaid with diamond-shaped ivory. Black edging. Very narrow sound-holes. Wretched brown varnish. Talevna a Turin branded where label is usually placed.
TANCZER, GEORG (GYRGY)
Born 1855. Pupil of Nemessnyi. Established at Budapest 1882. Worked at Debreczen 1899, also for the Stowasser Company at Budapest. Died 1922. Imitations of the Stradivarius and Guarnerius. Reddish-yellow amber varnish. Furnished a new arrangement of the bass bar, an innovation finding much favour in Hungary. Succeeded by son of same Christian name (born 1898).
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Georg Tanczer
Kunstgeigenmacher
Budapest
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Other labels in Hungarian.
TANEGIA, CARLO ANTONIO
Worked at Milan 1725-1738. Some instruments moulded after the style of a Grancino. Others belong to the Stradivarian and Amati styles, but not always respectfully. Purfling runs without hindrance to extreme centre of corners. Sound-holes invariably inartistic, particularly deep notches. Brown varnish with a little yellow in it. Tonal quality generally sympathetic though not especially strong or of immaculate clarity. 35, 1936; 65, 1960.
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Carolus Antonius Tanegia
fecit in Via Lata Medio
Lani, Anno 1730
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Sometimes Anciae Cremonae Socius Antonii Stradivari added.
TNGEL (TENGEL), JOHANN
Born at Danzig 1667. Went to Markneukirchen. Master of the Guild 1701. Died 1757. Supposed to have shown the Markneukirchen violin makers a new art of preparing varnish which had much to do with the development of violin industry in Saxony. The earliest Saxon violins however, exhibit a staining under the thin varnish layer, so Tngels process appears to have its claims less in varnishing than staining.
TNGEL, JOHANN
Worked at Danzig 1763. Broad modelling of moderate arching. Varnish of good hue, a mixture of brown and yellow shades. Especially good cellos.
TANHAGER, PAUL
Viol in Linz (Austria) Museum.
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Paul Tanhager
Geigenmacher zu
Freydenstein. Oberwallsee 1755
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TANIGARD, GIOVANNI GIORGIO
Worked at Rome 1730-1750. Style in strong relationship to that of Tecchler. Rather high arching, but nicely developed. Purfling beautifully embedded. Brownish-red varnish reveals earnestness of the artist. Cellos also treated to workmanship of rare zest.
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Georgiuis Tanigardus
fecit Romae, anno 1735
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TANLEY
Worked in London 1930. Advertised an improved type of hollow end pin with a special lining of metal or porcelain which caused tonal roughness to disappear, and to further enrich it by greater freedom, fullness, and volume.
TARASCONI, CARLO
Worked at Rome 1900-1910. Style and workmanship synonymous with mediocrity. Indifferent wood, often with twists in the grain. Poor yellow varnish exactly suitable for its surroundings. 65, 1960.
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Carolus Tarasconi
No. 36 fecit Romae, 1903
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TARASCONI, GIUSEPPE
Double-bass player at Saronno (near Milan) 1888-1920. Modelling of rather forbidding aspect, dangerously near those factory-type instruments which deserve not to be promulgated. Outline and arching completely liberal in things which repel. Proportions generally too large. Scroll furnishes the one good point above wholesale mediocrity. Indifferently cut sound-holes, one feels a desire to cut off a tiny portion of the wings. Light yellow or pale golden shades of varnish. Orchestral tone of the vitiated order. 85, 1960.
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Guiseppe Tarasconi G.T.
Saronno-Milano. Anno 1898 S.M.
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TARASCONI, MIRCO
Son of G. Pupil of Laurent (Brussels), and Ornati (Milan). Model and workmanship of second-rate order.
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Mirco Tarasconi M.T.
Saronno-Milano. Anno 1925 S.M.
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TARL AND BIZOS
Presented at Academy of Sciences, Paris, 1931 a Super-Violon with electrical amplifier.
TARL, DOCTOR G.
Born at Maure (Brittany) 1882. Resident at Paris 1920. Made many scientific investigations relating to tone. Brought out a new System of Regulation etc., by which he claimed to transform any instrument into one as equal to a Maggini and Guarnerius.
Inventor of a five-stringed viola-violin. Instruments made by Nadegini (wellknown maker at Paris), and called the violin of the future. His system which gives extraordinary sonority to the lower strings, makes it possible to change a violin into a good viola, and so combine two instruments into one. Also claimed that the present viola could be abandoned, because no viola of 42 cm. body length has the power of the Tarl five-stringed instrument which is 5 cm. shorter. Such instruments have been titled La Vigorne. Also brought out a Bridge Support (with some oscillatory affairs connected with it) for increased tonal sonority. Presented a few ideas advocating two sound posts and a rigid metal bass bar.
TAROTANO, ANTONIO
Worked at Novara (Italy). Style fully shows critical apprehension as to what he had to do. Back ornamented with the Bourbon Fleur-de-Lis.
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S. Salvator Novara
F. Antonius Tarotanus
faciebat A.D. 1623
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TARR, AUBREY JAMES
Born 1904. Amateur. Resident at Exmouth (Devon). Presented a violin and viola at The Hague Exposition. 1949.
TARR, JOSEPH C.
Son of William. Worked at Manchester. Resident at New York 1900. Moved to Huntington (U.S.A.) 1912. Died 1926. Exhibited violins at the Trades Convention, St. Louis, 1914. Stradivarian modelling, but of the sort resulting from indefinite and non-critical principles. Also deserves blame for ill-chosen material. Reddish-brown varnish of nice constituency.
TARR, THOMAS
Worked at Sheffield 1865-1899. Occupied seven different premises during those years. Dealer in musical instruments, also a double-bass player. Violins of strong construction and rather full arching. Sound-holes rather adroitly cut. Scroll done by a bold hand, shows character, and hardly any defect. Golden-brown varnish of good substance and hue. Made several orchestral double-basses of strong tone, but workmanship not first-class.
TARR, WILLIAM
Born 1809. Double-bass player at Manchester. Took out several patents concerning organs. Became a prominent socialist at the latter part of life. Also known as a photographer. Made his first double-bass in 1834. Worked (assisted by sons) until 1886. Died 1892. Produced 200 or more double-basses, instruments greatly favoured by theatre players in the North and Midlands, also a fair number of violins, violas and cellos. Very diligent worker, especially skilful with the large instruments, and the appreciation he found encouraged him towards an artistic ideal.
TARTAGLIA, FRANCESCO
Worked at Stroppiano until 1883. Subsequently at Bielta. Ordinary modelling, solid construction, but rather hasty workmanship.
TARTINI
Name given to violins and guitars made by Schuster Brothers at Markneukirchen, 1900-1927.
TASSINI, BARTOLOMEO
Worked at Venice 1740-1758. Also supposed to have lived at Rome, 1760. Modelling recalls that of Testore, and is not in the first style of art. Workmanship not emanating from the agency of a very talented hand. Scroll gives impression of disappointment. Sound-holes and purfling more seductive. Particularly good wood, backs generally of one-piece and splendidly handsome. Very pretty and clear golden-yellow varnish rather alluring, emphasising the beauty of wood. 300, 1960.
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Opus Bartholomaey
Tasslni 1756
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Opus Bartholomei
Taffini Venetiae. 1752
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TATAR, P.
Born at Bataszeh (Hungary) 1909. Made first violin in 13th year. Studied at Budapest and Milan. Established at Cremona 1940. Won several diplomas. Produced 42 violins, 6 violas and 5 cellos up to year 1949. Strad and Guarnerian modelling. Yellowish-orange or reddish-brown shades of spirit varnish.
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Peter Tatar in Cremonensi Universitate
Magister Liutarius - fecit 1949
Wvum in Silva Lgnum
Mortum sublimis cantus
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(with Coat-of-Arms and signature)
TAUBER, ANDREAS
Worked at Vienna. Pupil of Geissenhof. Settled at Pressburg (Hungary) 1820. Rational inspirations of the broad and large Stradivarius. Very slight arching, and thick edging splendidly rounded. Large and almost plump scroll. Sound-holes positioned under regulation of sound judgement. Purfling controlled by a sure and steady hand. Wise choice of wood - backs generally of one piece. Excellent brown varnish though a trifle hard. Instruments deservedly enjoying good reputation on account of the powerful and clear tonal quality. 80, 1960.
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Andreas Tauber
Geigenmacher in Presburg
1824
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TAUER, EMANUEL
Worked at Watzkenreuth (Bohemia), 1925.
TAUER, KARL
Worked at Schnbach (Bohemia), 1925.
TAUSCHER, ARNO E.
Learned the art from Neumarker in Saxony. Worked in Paris, Nrnberg, Amsterdam and London (with Hill & Sons), thus occupying 24 years of life. Settled at Chicago 1906-1927. Persevering experimentalist for 20 years in varnishing. Persuaded himself that most oil varnishes gave a beautiful tone to an instrument when not quite dry, because the wood was still soaked with oil and had full power of vibration. Six months later however, these varnishes slowly commenced to dry, and within the year had almost dried out. When the instrument begins to deteriorate the pores of the wood have been filled with that oil which, when hardened, expands the pores of the wood, crowds the fibres, and hinders the resonance. Ultimately achieved the following remarkable formula -
It is made out of three gums - one taken from the tree just after the frost, one in May, and one in September. These gums boiled for a certain length of time, produce a quantity of varnish which must be used as soon as cooled. The next day it loses its value. It takes two days to complete the varnishing, and the fermenting process sets in immediately, which is very interesting to watch. When the varnish is through fermenting, in about four or six weeks, a filmy covering rises to the surface, which can be easily wiped off. After this, the violin is polished and ready for stringing.
Brought out some finely modelled violins, either Stradivarian and Guarnerian, with this varnish of reddish-yellow. Advertised they had the full tone of old master violins did not require the customary playing-in of new instruments consequently easily responsive for artists of rapid technique and vigorous chordal work, also that they were not faked, and that he was the only living man who had the secret for preparing the old Italian varnish, and offered to pay 1,000 dollars to anyone who could scientifically contradict his assertions.
Ysaye and other solists sent him very flattering testimonials. Also created innovations in connection with the bass bar.
TAUSCHER, EDUARD
Born 1867. Pupil of W. Meisel. Established at Erlbach (Saxony) 1889. Developed into a factory under the name of Eduard Tauscher and Co., 1908. Early instruments have top plates made from century-old roof beams. First-class productivity of trade violins, 1926 - various grades affording considerable freedom of choice among the standard models.
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Eduard Tauscher & Co. Model
Geigenbaustatt Stradivari
Erlbach - Markneukirchen
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TAUSCHER, MARTIN
Born 1907. Worked at Chemnitz (Saxony) 1933, and at Erlbach 1946. Excellent copies of standard models.
TAYLOR, NATHAN SLEEPER
Born 1841. Lived at Lewiston (Maine, U.S.A.) Died 1923. Had an innate love of music and an inherited skill in wood carving. Played violin and cornet in Ballards College Orchestra at Lewiston, and enthusiasm for the former instrument caused him to critically examine the exterior and interior structure of old master specimens, thus acquired knowledge to venture on exploits of his own. Some instruments outlined from the Grand Stradivarius, others from the Guamerius third period. Naturally felt he must make certain variations somewhere in order not to be termed a copyist, so he graded the interior from own ideas of tone vibration, an operation proving highly successful. Workmanship escapes from all touches of pupilage style, artistry carried to its highest elevation in the sound-holes, scroll, and purfling. Used own oil varnish which has been eulogised by critics as a true reproduction of the Stradivarian cherry-brown-yellow and the Guarnerian golden-red. Tonal quality combines rich fullness with the expressive and farcarrying. Rmnyi and other soloists visiting the U.S.A. often exhibited their technical prowess on these instruments, and spoke of them as the glory of that country.
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Made by Nathan S. Taylor
19 . . Lewiston, Me.
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(decorative border)
Some instruments bear autograph but no label. First specimen dated 1865.
TAYLOR, ROBERT
Resident at Leicester 1917-1927. Wood carving propensities and aspiring mind first found their outlet in modified Stradivarian designs. Splendid outline with a slight divergency from the older model in waist-curves. Moderate arching, but sometimes the rise is carried further than customary in a longitudinal direction but not toward the sides. Other models have Guarnerian characteristics, though not absolute replication. Edging generally very substantial, but with a nice avoidance of heaviness. Finely broad scrolls kindling the true spirit of originality, and eloquently artistic. Excellently shaped sound-holes, faultlessly cut, of good length, especially arresting wings, but notches slightly too pronounced. Purfling of bold character and conducted accurately. Thicknessing of plates graduated in accordance with the old principles, a medium scientifically superior to the visionary schemes and projects of any moderns. All instruments have plenty of wood in essential parts, and none is over twenty years seasoning. Generally one-piece backs of very handsome material. Oil varnish of own preparation which has taken several years to perfect. Shades of orange yellow and reddish-brown. Tonal quallty quite responsive, and not having the ephemeral mellowness caused by faking, it will travel all the quicker along the road leading to legitimate maturity. Made a special study of viola construction, and achieved marked success in a particularly bright yet deep tone. Body length 16-3/8 inches. Produced several fine-toned cellos designed from a Bergonzi. Also exercised his art on bow making, and received a number of testimonies regarding their excellence. Label - a very artistic design of his own, bearing (in red) the Leicester Coat-of-Arms. 75; Violas and cellos 90, 1960.
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Robert Taylor
Maker
5 Ann St., Leicester
Anno 1925
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TAYLOR, STEPHEN OLIVER
Organ builder at Leicester 1896-1924. Made cellos designed from a Guarnerius violin. Parental character well brought out, details all splendidly worked.
TAYLOR, THOMAS DUXBURY
Cabinet maker at Bolton 1879-1890. Produced ten violins of commendable design. Workmanship reasonably refined. Tonal quality yields considerable obedience to the varieties of bow strokes.
TAYLOR, WILLIAM
Worked in Princes Street, Drury Lane, London, 1769-1800. Assistant of Panormo. Copied the principal features of that mans instruments, and from the very nature of their relationship, especially the double-basses, they must ever remain landmarks of that early period of the English school. Violins of less importance, but well modelled, with fairly flattish arching, yellow or yellow-brown varnish, very satisfactory tone. Also violas and cellos which merit approval.
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Gulielmus Taylor, 1798
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Other labels give William, Wilhelm or Guhelms. Sometimes branded, and occasionally anti-dated. Name occasionally seen in German trade violins, 1780-1820. 65; violas and cellos 85, 1960.
TAYLOR AND TAYLOR
Residents at Edmonton (London) 1885. Patentees of a Duplex String Violin. Shape and size of the ordinary violin not altered in any way but have innovations for regulating the tension of the double strings. Inventors claimed a richer and more powerful tone, also effective voix-celeste sounds. Notwithstanding these tonal contrasts of surpassing beauty, the instruments soon found their way into oblivion. Stamped Taylors Patent.
TEALE, JOHN
Worked in London 1828. Artistic modelling, careful attention given to all details. Amatese-Stradivarian contour. Golden-brown varnish liberally applied.
TECCHLER, ANDREAS
Son or younger brother of David. Worked at Rome 1742-1751. Violins and cellos considerably in the well-known style of David. Called forth the best energies of his mind to accomplish the neatest workmanship. Wood generally of handsome figure. Thick golden-yellow varnish. Name sometimes given as Thecler. 500, 1960.
TECCHLER, ANTONIO HIERONYMI
Worked at Rome 1730-1745. Nephew and pupil of David. Pretty instruments displaying efficient application of the most attractive points in modelling and varnish. 450, 1960.
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Antonius Hieronymus Tekler
Davidis Nepos Lautaro fecit 1735
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TECCHLER, DAVID
Born at Salzburg (Austria) 1666. Went to Venice about 1699, but the citizens there were too antagonistic for his peaceful nature, so he had to leave or starve. Chose the former course, and proceeded to Cremona where he tried to make fraternal friendship and gain insight into the style of the Cremonese. Soon left, and wended his way towards Rome, where he found a different atmosphere of welcome. Returned to Venice, 1711, but after two years retraced his steps to Rome and worked there until 1743. Various spellings of his name - Techler, Tekler, Dechler, and Deckler. Considered an excellent maker whose instruments are rather highly valued. Modelling altered considerably according to environment and progressive ingenuity. Salzburg productions all favour the highly arched Tyrolese style, but more particularly in the outline and sound-holes rather than the scroll and varnish. Venetian specimens slightly reduced in arching, but retain much of the Tyrolese character. Roman examples altogether superior to the others. Built more approximately to the Grand Amati design, though perhaps fuller developed and slightly broader. At any rate, one simultaneously viewing the Tyrolese and Rome instruments, finds it difficult to recognise the distinctive differentiations as the work of the same man. Easily the best maker in Rome during his entire period. Instruments displaying massively moulded corners and margins, the former being characteristically long. Appearance rather verging on the noble. Sound-holes rather broadly slanted, often too widely opened at centre, and sometimes somewhat short, betraying Tyrolese training. However, he occassionally reduced the width. Scroll has a certain individuality, and is on the whole, well conceived and nicely executed, but the slender cutting of the peg-box near throat is a noticeable peculiarity not altogether to be admired. Generally plentifully wooded, but thicknesses not always beautifully regulated. Purfiing often broad and splendidly accurate. Backs and ribs frequently of handsome material. Golden-brown and golden-red shades of varnish, sometimes very luxuriant, at other times looking as though he had thinly rubbed something semi-opaque over it. Tonal quality variable, some quite powerful and brilliant, others less so but rather mellow. Produced about 50 cellos, now eagerly sought for on account of the full sonority of tone. Specimen dated 1721, body length 76 cm; upper bouts 35; lower 44.8. Double-basses perhaps of greater value.
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David Tecchler Liutaro
fecit Romae Anno 1703
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David Dechler fecit
Rom. 1710
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David Tecchler fecit
Rome, Anno Dni 1721
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David Techler fecit
an Dni 1743
aetatis suae 77
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Violin 650, cellos 850, double-bass 1,000, 1960.
TECHLER
Bows made by C. A. Reichel at Markneukirchen. Brazilian wood imitated to have the appearance of Pernambuco. Rather heavy at saddle. Not refined work. Whale-bone lapping with leather finishes. Stamped Techler. 8, 1960.
TEDESCO (TODESCO), LEOPOLDO IL
Born 1625. Pupil of Nicol Amati, 1653. Worked at Rome 1657-1675. Amatese modelling with fairly happy results in elegance. Workmanship generally less satisfactory. Fine varnish, very near to the Cremonese. 650, 1960.
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Leopoldo il Tedesco
alievo di Amatis Cremonae
fecit Romae 1659
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TEFVIA, YOSA
Worked at Jonava (Lithuania) 1880-1890. Violins skilfully made. One who sought for and achieved a remarkably pure tonal quality. Cremonese principles cleverly interwoven with little touches of originality. Varnish brought to such a fine art as to render criticism impossible. Scroll and sound-holes marked by that structural propriety which is essential to the realisation of beauty.
TEISTLER, JOHANN
Bow maker at Graslitz (Bohemia) 1910.
TELESI, SENOFONTI
Resident at Ostiglia (Mantua) 1937. Little-known work.
TELFORD, J.
Scottish cabinet maker. Made violins for amusement, much in the Matthew Hardie style. Untutored design and craftsmanship - some with sloping shoulders. Indifferent wood, and a crackly kind of varnish.
TELVI, ANTONIO
Worked at Ancona 1718-1730. Fairly nice workmanship.
TEMPIS, JOSEPH VON
Worked at Znaim (Moravia) 1800-1810. Interesting outline of German characteristics, flattish arching. Style of scroll nicely incorporated with general contour of instrument. Sound-holes somewhat Stradivarian. Edges and corners not well finished nor of perfect curvature, though not really inelegant. Excellent belly wood, and prettily flamed material for backs. Reddish-brown shade of ordinary varnish.
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Von mir Jos: von Tempis
Znaim 1805
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(long and pretty lettering, plain border)
TEMPLE, GEORGE
Born 1904. Resident at Morpeth and Broomhill. Violins of Strad and Guarnerian modelling - excellent designs and competent workmanship. Also large pattern violas fashioned on Richardson principles.
WILLIAM (brother) has produced a fair number of bows.
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George Temple
Maker
Broomhill. Northumberland
1948
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TENNANT, JAMES
Born 1790. Resident at Lesmahagow (Scotland). Worked there in his 70th year. Renowned as a strathspey player, acquired the unique manner of bowing such dances, and was in great demand all through the district. Made violins, violas and cellos during later period of life. Instruments not particularly artistic, nor of special interest tonally.
TENTZEL, B.
Worked at Mittenwald. Klotz style and yellow-brown varnish.
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Benedikt Tentzel
Napoli. 1717
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TENTZEL, JOHANN
Sometimes given as Dnzel and Denzel. Worked at Mittenwald 1715-1730. Elegant outline and arching of medium height. Characteristics entirely of Klotz school. Brown varnish precisely corresponding to the same. Sometimes nicely figured whole backs. 25, 1925. Also produced a few cellos, and a large number of lutes.
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Joh. Tentzel. Lautenmacher
in Mittenwald, fecit 1723
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Many instruments bear the name of Stainer.
TENTZEL, PAUL
Son and pupil of Johann. Worked at Mittenwald 1735-1760. Violins having an assemblage of points exactly replicating the Klotz style of his father.
TENUCCI, EUGEN
Born at Zrich 1874. Pupil of Zst. Head of the violin department at the Hug Musical Emporium 1899. Internationally renowned as a connoisseur 1945. Guamerian and Stradivarian modelling. Spirit and oil varnishes.
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Gebaut von E. Tenucci
im Geigenbau - Atelier
Hug & Co. Zrich 19 . .
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(bearing an emblematical design)
TEODITI, GIOVANNI
Worked at Rome 1690-1712. It has been customary to compare all Roman emanations with those of Tecchler, but with the Teoditi violins such an opinion leads to a false conclusion, since there is scarcely a point of resemblance between the two except that there may be a slight tinge of Tyrolian element. 30, 1931.
TEODITI, HIERONYMUS (JEROME)
Worked at Rome 1711.
TERAPATINI, NAPALDN
Worked at Sant Agata Lugo (Italy) 1879. Specialised in cellos. 125, 1960.
TERMANINI, JOSEPH
Priest who worked at Modena 1750-1770. Violins rather reminiscent of the Soliani. Workmanship more ordinary, than clever. Excellent golden-yellow varnish. Tonal quality budding into an agreeable sweetness, but never flourishing into a really healthy sonorous maturity. 175, 1960.
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D. Joseph Termanini
fecit Mutinae a: 1755 opus No. 5
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D represents Dominus (priest).
TERMANINI (TERNYANINI), PIETRO
Worked at Modena 1755-1763. Brother of the preceding, work sometimes similar in style, and generally of more careful finish. Some instruments distinctly original in form. Pretty wood covered with splendid golden-yellow varnish. Contour weakened by inaccurate purfling, and on some specimens parts of the original lines have worn away. Tonal quality nothing to boast about, small silvery tone.
TERMONT, AUGUST
Worked at Gand (Belgium) 1850-1870. Double-bass in Brussels Museum.
TERRANA, GERLANDO
Born at Naples 1909. Professional violinist. Resident at Milan 1924. Gagliano and individualistic modelling. Produced 80 violins up to year 1949. Golden-yellow or brilliant red shades of varnish. 95, 1960.
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Gerlandus Terrana
Neapolitanus Mediolani
fecit MCMXLVII
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(on parchment, with monogram and signature)
TESTORE, CARL
Instruments made at factories, or nondescripts labelled by fraudulent dealers.
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Carl Testore, 1733
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TESTORE, CARLO ANTONIO
Eldest son and pupil of Carlo Giuseppe. Born 1687. Worked at the Sign of the Eagle (dell Aquila), Milan 1710-1765. A more prolific maker than father. Copied the Amati, Stradivarius and Guarinerius, more frequently the latter - in each case with certain modifications not altogether enhancing the general contour. Body length sometimes only 13-1/2 inches. Abundant evidence of rough workmanship, a procedure which seems definitely intended rather than from inability. Scrolls occasionally of really fine shape but more often of the type that merits severe ctiricism. Purfling generally uncertain in evenness (all the family had this failing), and leaves a disturbing impression. Some instruments have no purfling. Good tone wood for bellies, also excellent material for backs, but seldom finely flamed. Golden-yellow varnish shading into brown, a sort of orange-brown of thick constitution and little gleam. Occasionally a deeper reddish-brown. Tonal quality often quite full and remarkably resonant, but never of true Italian sympathetic timbre.
Violas recognised as superior to violins. Cellos yet finer, of full arching, handsome material, and a tonal quality of rich mellowness and far carrying power. 350; Cellos and violas 450, 1960.
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Carlo Antonio Testore figlio maggiore
del f Carlo Giuseppe in Contrada
larga al segno dell Aquila, Milano, 1741
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Branded C.A.T. with a circle containing the double-eagle device on the back, outside and inside. Worked in his last years with his son Giovanni.
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Carlo Antonio e Giovanni padre e figlio
Testori, il qual Carlo e figlio maggiore
del f Carlo Giuseppe Testore, abitanti
in Contrada larga al segno dell aquila.
Milano, 1764
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TESTORE, CARLO GIUSEPPE
Born at Novara (Italy) 1660. Went to Milan about 1683. Worked with Grancino. Died 1738. The most conspicuous member of the family, but did not produce a very large number of instruments. Several of his Grancino-Amati models have been re-labelled, and sold as genuine Grancinos. Others have occasionally been attributed to Guarnerius. Modelling varies very considerably, but touches of Amati influence predominate. Generally of medium dimenslons, body length 13-3/4 inches, moderate arching. The slight slant in waist-curves foreshadow what is now known as the Guamerian. Occasionally wrought an elegatit and picturesque design but never reached ideality. Without being over-enthusiastic concerning the workmanship, we much acknowledge that it is strong and conscientious though never immaculate in finish. He needed stirring up after certain lapses into a kind of careless go-as-you-please spate, yet seemingly sure-handed style, and should have been encouraged to bestow more critical revision on what was so plainly excellent, and he could have easily stepped into artistry of refinement. Wood always more carefully chosen for tonal resonance rather than appearance. Backs seldom favoured with material other than that of a very slight figure, or quite plain, and this applies also to the ribs. Bellies sometimes of a broad mottled grain. Scrolls generally flat and pinched, but also of pretty swing. Sound-holes somewhat pointed, again foreshadowing the well-known characteristic of a Guarnerius. Purfling generally inaccurate, some unpurfled. Plainness of wood not especially enhanced with its covering of brownish-yellow or yellow with red-brown shading varnish, generally applied thinly and verging on the coldly dull. Tonal quality remarkably powerful, very spontaneous under the bow of a stroke-freedom soloist, far carrying and round, though its sympathetic qualities are sometimes questionable. Violas of medium arching, body length 15-3/4 inches, light golden-brown varnish, and finely free tone. Cellos almost invariably of pear-tree wood for backs, bellies of splendid tonal pine (even though a knot here and there sometimes exhibits itself), and bold scrolls of beech wood. Body length 29-1/4 inches, upper bouts 13-7/8; lower 17. Brown varnish with a slight yellow tinge. Also produced several basses of small model, all having a magnificent tone. Favourite instruments of several Italian virtuosi.
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Carlo Giuseppe Testore allievo
di Gio. Grancino in Contrada
Larga di Milano, 1690
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Carlo Giuseppe Testore in Con
trada larga di Milano, al
signo dell aquila, 1710
--------------------------------------
Some instruments branded with the Royal Double-Eagle emblem around the label, mostly found in the cellos. Also occasionally branded on button at top of back. Violin dated 1708, body length 35.5 cm; upper bouts 16.8; lower 20.6; length of waist curves, 7.9. 650; cellos 800, 1960.
TESTORE, GENNARO
Son of Paolo. Worked at Milan 1755-1800. Style and workmanship corresponds with the rather commonplace characteristics of Paolo, on the whole, negligible. Outline and arching often in want of curvature and gradient propriety. Ribs pronouncedly high. Wood seldom of nice flame, backs of poplar material, yet the tone is quite of the singing and far-carrying desirability. Dark brown varnish of dirty-looking appearance, also a carved condyle at the head of peg-box, and inartistic protuberance. 300, 1960.
----------------------------
Gennaro Testore figlio
del f Paolo 1767
----------------------------
TESTORE, GIOVANNI
Son and co-worker of Carlo Antonio. Worked at Milan 1760-1770. Fair imitations of the Guarnerius - workmanship generally evading anything incautious. Some specimens re-labelled with the name of Guarnerius which have completely duped or misled people. Body length 35-1/2 cm; upper bouts 16-1/2 cm; lower 19-1/2 cm. Dated 1764. 300, 1960.
TESTORE, NICOLAUS
Worked at Venice 1755-1765. Excellent type of construction with particularly well developed arching. One-piece backs of a small but pretty flamed maple. Varnish of rich transparency, golden-brown shade. Resonant and easily responsive tonal quality. 400, 1960.
TESTORE, PAOLO ANTONIO
Born 1690, Son of Carlo Giuseppe. Worked at Milan until 1759. Style and workmanship somewhat similar to the fathers, though possibly less good. Produced a large number of instruments, but comparatively few seem to have his label. Modelling of medium proportions, moderate arching, semi-Guarnerian sound-holes and waist curves - insignificant scroll. Quite commonly omitted purfling, very occasionally applied to top plates, and substituted black lines on bottom plates. Several instruments purfled by later hands. Generally poor and unflamed wood, belly material often of wide grain. Pale yellow shade of thin varnish seldom nicely applied, occasionally one of better quality with a tinge of brown in it. Tonal quality which causes a soloist to oscillate between satisfaction and disappointment, gratified with its undoubted resonance and power, but desiring greater purity. Produced lutes and guitars of quite superior style. Some excellent violas known - body length 16-1/2 inches.
----------------------------
Paolo Antonio Testore
Milan 17 . .
----------------------------
-------------------------------------------
Paolo Antonio Testore
figilo de Carlo Giuseppe Testore in
Contrada larga di Milano
al segno dell aquila, 1759
-------------------------------------------
Also branded with the double eagle. 450, 1960.
TEUBNER, FRANZ
Worked at Magdeburg (Saxony) 1885-1895. Specialised in concert violins of the usual trade type. Cremonese and Tyrolean models. Pretty wood and well varnished. Catalogued at 8. Bows named Soloists model - modelled in the Bausch and Tourte styles.
TEUBNER, OTTO
Born at Markneukirchen. Established at Magdeburg 1900. Principally a dealer and repairer.
TEUFELSDORFER, PETER
Born 1784. Studied and worked with Geissenhof at Vienna. Acquired, under that man, a method and habit of studying instruments of all schools. Also a discipline of hand, which, with sincerely directed ardour, enabled him to foresee a sure prospect of success. Settled at Budapest and, with amazing rapidity, built various forms of stringed instruments which soon spread throughout Hungary and Austria and caught the flame of recognition. Productivity very prolific. Died 1845. Violins mostly modelled on Stradivarius and in general appearance closely resemble the Geissenhof. Also produced meritorious replications of the Maggini style. tvery instrument splendidly proportioned. All details of workmanship well finished. No innovations of inside work or visionary liberties taken with thicknessing of plates. Back and front wood very attractive. Reddish-yellow varnish of impressive shade. Tonal quality sufficiently large and sonorous to clearly penetrate through any concert room. Violas in no degree inferior to violins. Cellos take high rank. Double-basses embody every essential in structure and tone. Inventor of a bowed guitar, 1823, in which he had the co-operation of Schmid (famous Viennese guitarist). Built over 500 guitars. Some 64 cm. in length, unusually narrow, with fine inlay work and deck arabesques. 75, 1960.
-----------------------------------
Peter Teufelsdorfer in Pesth
fecit Ao. 1828
-----------------------------------
--------------------------
Petrus Teufelsdorfer
fecit Pestini 1836
--------------------------
TEUFFEL
Worked at Breslau (Silesia) 1780. Instruments not possessing, in style or tone, much that may be deemed good. German high arching, inartistic scroll and sound-holes. Reddish-brown varnish, very thick.
TEWKESBURY, MOSES A.
Worked at Chester (New Hampshire, U.S.A.) 1841. Cellos with large scroll, and unpurfled. Excellent workmanship of the ordinary kind. Double-basses rather strongly constructed with ribs decidedly heavy-looking. No violins or violas known.
THAIN, ROBERT
Born in Aberdeenshire 1880. Made his first instrument in New Zealand, 1914. Resident at Auckland in that Island, 1925. Violins and cellos. Stradivarian and Guarnerian modelling. Dark orange to brown shades of varnish. Well conceived and well finished instruments not to be lost in the crowd of ordinary productions. Tonal quality of respectable responsiveness.
THATER, FR.
Resident at Schwerin (Mecklenburg) 1921. Instruments pervaded by the free and liberal spirit of a thinker.
THEINER, A.
Established at Olmtz (Moravia) 1921. Maker of violins and bows bearing the trade-name Bsmie. Cheap merchandise, but well constructed. Stradivarian model, glossy varnish in shades of cherry, dark-red, and deep black, some with fancy heads. Amati model, shaded varnish, old imitation. Stainer model, golden yellow and shaded red varnish, also with fancy heads. Maggini and Gaspar da Sal models, styled solo violins. Bows with Pernambuco sticks.
THERESS, CHARLES
Born at Mirecourt. Principal assistant to Maucotel in London, 1845. Worked in King Street, Soho, 1848-1860. Copied various Cremona models with success - Amatese models generally given first vote.
THIBOUT, AIM JUSTIN
Born 1808. Son and pupil of J.P. Worked at Caen until 1862. Died at Nice 1868. Style and workmanship inclined to be crude. Contour rather common, wood not handsome. Details of workmanship not well attended to and varnish of indifferent quality, unattractively applied. 45, 1960.
THIBOUT FILS
Worked at Caen 1770-1780. Left a few memorials of rather mediocre design. Principally known as a repairer and dealer.
THIBOUT, GABRIEL ADOLPHE
Born at Paris 1804. Son, pupil and associate for many years of J.P. Died 1858. Fathers style naturally operated on his intellect. Workmanship altogether praiseworthy, had a partiality for one-piece backs. Reddish-brown shade of varnish. Instruments to be regarded as reposing upon the laurels of the elder Thibout, and sustaining themselves upon that reputation, rather than as making new accessions towards superiority. Specialised in copying the Rode Guarnerius. These bear a facsimile of the original label, and the following inscription along the top and bottom of it.
-------------------------------------
Imitation du Violon de Rode
fair par Thibout, Paris, 1834
-------------------------------------
THIBOUT, GABRIEL EUGNE
Born at Paris 1825. Son and pupil of J.P. Succeeded brother G.A. as luthier de lOpra. Left Paris, and settled at Boulogne-sur-Mer, 1861. Died 1908.
THIBOUT, J. A.
Worked at Chambry (France) 1810-1820. Violins and cellos, but more especially guitars.
THIBOUT, JACQUES PIERRE
Born at Caen 1777. Worked with Koliker at Paris 1796. Established own premises at 24 rue Montmartre, 1807; and in the rue Rameau, 1810. Died at Saint-Mand (near Paris) 1856. Stradivarian modelling rather reminiscent of the Lupot style. Instruments that soon attracted the fastidious French by a slight innovation of the sides for which he claimed amelioration of tone. This novel procedure consisted in giving to the edges, at the junction of the corners, a flat surface of about an eighth of an inch, thus contributing to the aspect of heaviness complained of by some connoisseurs. Margins quiet and finished-looking. Sound-holes rather reminiscent of the straight inner cut of the Rogerius. Purfling very accurate. Scroll graphically shows his ability for exquisite curvature not so deep or so long as many French conceptions. Beautifully upswept volute. Tonal quality quite of Italian purity, and far carrying. Varnish mostly red-mahogany with a very slight tinge of brilliant brick-red, others show a peculiar richness of colouring in a very transparent red on an amber ground, occasionally tried other shades. Some specimens re-labelled with Lupots name. 126, 1960.
---------------------------------------------------
Nouveau procd approuve par lInstitut
Thibout, Luthier, rue Rameau T
No. 8. Paris. 1835 J. P
---------------------------------------------------
---------------------------------------------------------------
Au Roi David
Thibout, Luthier de lAcademie Royale de Musique
Rue Rameau, No. 8, Paris
---------------------------------------------------------------
THIBOUT, PIERRE LOUIS
Worked at Caen (France) 1768-1790. Though the design is not perfect there is sufficient to show a fairly convincing resemblance to the Amati. Chief variations from that model are the sound-holes and scroll, but stiffness or want of ease is not manifest. Reddish-yellow varnish carefully applied. 70, 1960.
THIBOUVILLE-LAMY, LOUIS EMILE JRME
Born at Mouttes 1833. Worked at Mirecourt and Paris. Became sole proprietor of various factories at Mirecourt, and gradually substituted mechanical for manual labour. Exhibited in 1873 at Vienna his famous machinery-made violins priced at 4/-, 8/- and 16/- each. Awarded medals in every country. Honoured with the Chevalier of the Legion of Honour ribbon, 1877. The firm continued to prosper and expand, and almost innumerable types of violins, branded or labelled with the various names of workmen or made-up ones, circulate throughout the world. Directors in 1930 were Acoulon and Blondelet (see under these names). Label of his independent work at Paris -
--------------------------
J. Thibouville-Lamy
70 rue Raumur
Paris 1886
--------------------------
Generally excellent transcepts of the Stradivarius model. Reddish-brown varnish. Thibouville-Lamy, T & L, sometimes branded where label is usually placed. Labels of first productions at the factory -
-----------------------------
daprs A. Stradivarius
J.Thibouville-Lamy
-----------------------------
(1) Second line a facsimile of his signature. Also bears a trade-mark. (2) A lyre surrounded by an aura under which are the letters J.T.L. This well-known label is now used for the Sarasate instruments made at Mirecourt. Special manufacture of double-basses at 90, 1930.
THIER
see THIR.
THIERRY, JAMES
Born 1859. Iron moulder. Worked at Akron (Ohio), until 1942. First instrument made in 1898 - subsequently produced 100 generally of Strad design. Used American woods. Oil varnish - red, light brown, or old brown shades.
THIERY (THIERRAY)
Worked at Mirecourt and Paris, 1850. Good design (Guamerian but larger), and ordinary workmanship offering confidence that a strong tone will proceed therefrom. Branded Thiery Paris, or Fait par Thiery Luthier/23 Rue Mantorgueil Paris written on the interior; or Thierry branded on belly. 80, 1960.
THIR, ANDREAS
Born 1765. Son of Anton (1). Worked at Pressburg. Died 1798. Instruments that became very popular throughout Hungary and Austria. Modelling based on the Leeb-Amati design (probably studied with Leeb at Vienna), arching almost entirely counterparts, but corners not precisely the same in not being excessively small. Sound-holes particularly elegant, having all the Italian characteristics. Scroll almost incomparably graceful, every little turn being astonishingly gradual. Firm and steady purfling. Especially beautiful brown varnish, warm and transparent. Tonal quality has gleanings of Italian purity, ideal instruments for chamber music performances. 50, 1930.
Also violas, cellos and double-basses. 85, 1960.
-----------------------
Andreas Thirr
in Pressburg. 1798
-----------------------
Others give the name as Thier and Thir. Some instruments labelled as though made in Vienna.
THIR, ANTON (1)
Born at Steingaden (Bavaria). Worked at Vienna before settling at Pressburg, 1750. Died 1796. Imitated the high modelling of Stainer with authoritative intent. Workmanship to be estimated as moderately refined. Achieved more skilful smartness with the scroll. Often very prettily figured material. Early instruments treated to an indifferent varnish now unpleasantly dark and opaque. Later specimens covered with a warm and fiery reddish-brown.
-----------------------------
Antonius Thir, Lauten
und Geigenmacher
in Prespurg Anno 1762
-----------------------------
Sometimes wrote name as Dirr. 75, 1960.
THIR, ANTON (2) Born 1767. Second son of Anton (1). Worked at Schnbach before joining father at Pressburg. Died 1799. Copied the style of fathers instruments, and used same label. Though the workmanship has not the same ability, the two have been easily confused, and detracted a little prestige from the elders actual work. 45, 1960.
THIR, ANTON (3)
Born 1765. Son of Mathias. Worked at Vienna 1790-1837. Broad but pretty Stradivarian modelling with arching of very slight gradient, though the strong edging is perhaps over-strained. Real taste further exemplified in the warmlooking cherry varnish of darkish tinge, sometimes of orange shade. Top wood of strong and even fibre, one-piece backs of charmingly figured material. Rich tonal quality of considerable far-carrying character. Also made attractive guitars.
------------------------------------
Antonius Thier filius Mathias
fecit Viennae, Anno 1812
------------------------------------
Always spelt his name Thier. 70, 1960.
THIR, ANTON (4)
Born 1783. Worked at Vienna 1810-1848. Chose to spell his name Tirr so as not to be confused with Anton (3). Copied the Geissenhof-Stradivarian style. Faultless arching and especially delicate edging on instruments made after 1815. Pretty wood and very smooth workmanship. Reddish-brown varnish, sometimes a finer red on yellow ground. Did not make many instruments, but on the few he did present he bestowed most loving care and was probably disinclined to part with them as they were unknown to the Viennese for several years. 80, 1960.
-----------------------
Antonius Tirr
fecit Viennae 1815
-----------------------
THIR, JOHANN GEORG
Worked at Vienna from 1738. Died 1781. Model strikingly narrow and long. High Stainer-like arching with its consequent groove - but some instruments dated from 1775 have it reduced to medium height. Large but prettily cut scrolls. Ribs 1.1/32 inches. Sound-holes stand 1.49/64 inches distant at upper part. Chose very dark and dull brown varnish, 1738-1750, favoured a more transparent brown on golden ground 1750-1760, and finally introduced a very arresting cherry-red, and these latter instruments command higher prices than those of earlier period. Wood sometimes of fine flame, and often one-piece backs. Accredited best maker in Vienna for 40 years.
-----------------------------------
Johann Georg Thir, Lauten
und Geigeninacher in Wienn
Anno 1758
-----------------------------------
(German lettering)
----------------------------------
Joannes Giorgius Thir, fecit
Viennae, Anno 1765
----------------------------------
Geissenhof succeeded him, 1781, completed the unfinished instruments, and retained the label. This relates to those dated 1781-1791. Good specimens 90, 1960.
THIR, JOSEPH
Worked at Innsbruck (Tyrol), 1915-1930. Good modelling though having much the appearance of ordinary trade instruments. Everything imitated to appear aged. Excellent workmanship especially the scroll (which again has factory appearance). Raised edges and purfling very near to rim. Well marked wood. Orchestral tone.
--------------------------------
Josef Thier, Geigenbauer
Innsbruck 1920
(Gio. Battista Gabrielli)
-------------------------------
(written)
THIR, MATHIAS
Brother of Johann Georg. Worked at Vienna, 1770-1800. Produced instruments for four florins each. Circulated many hundreds throughout Europe. Employed twelve assistants. Medium arched modelling possessing considerable repose. Clean workmanship, especially the graceful scroll. One-piece back and front. Warm golden brown or reddish oil varnish showing temperament of the producer towards art. Sometimes a darker brown of less transparency. Tonal quality quite sweet and clear, though not large. 20, 1925. Made beautiful viol damours wide grained belly wood and finely carved mans head.
------------------------
Mathias Thir
in Wien Anno 1772
------------------------
-------------------------
Mathias Thier fecit
Viennae, Anno 1782
-------------------------
Second label sometimes gives the name Thir. 45, 1960.
THIR, THOMAS
Viennese who apparently pretended he worked in an Italian town.
-----------------------------
Thomas Thir, Trebiano
in Italia, 1692
-----------------------------
THIRIOT (TIRIOT), JOSEPH
Worked at Mirecourt. Born 1750. Died 1786. Adopted the customary method of branding as though from Paris. Large proportioned and flat modelling, too broad to be really graceful. Corners never prominent, also refined edge. Sound-holes frequently without middle notches. Strong fibred belly wood and handsome backs. Dark yellow or orange brown vamish. Loud and generally unsympathetic tonal quality. Branded on inner side of back.
THIRIOT, NICOLAS
Bow maker at Mirecourt, 1779-1789.
THOLIN, PER ERIK
Born 1861. Amateur at Gnesta. Very ordinary violins, guitars and lutes.
THOMA, ADOLF
Born 1872. Pupil of Hermann. Worked at Hohendorf near Brambach (Saxony), 1890-1925. Bows modelled on the standard prototypes - pernambuco sticks. We find no difficulty in suscribing admiration to the ability and ingenuity in which every point is brought forward. Assisted by son Albert (born 1897); and by second son Arthur (born 1905) - splendid bows, stamped Arthur Thoma.
THOMA, ALEXANDER
Born at Vienna, 1872. Son of Jacob. Worked with father in that city, went with him to Boston, 1891, assisted him until 1917. Became head of the business, but retained the same name and used the same label, 1918. Made first violin in 15th year. Expert copyist of the Amati, Stradivari and Guarneri violins. Golden brown, orange and red oil varnish. Traditions of father splendidly maintained. Maker of a special solo resin and a revivifying oil for cleaning. Repairer to the Boston Symphony Orchestra. Resident at Dorchester, 1940.
-----------------------
Alexander Thoma
Boston. Mass.
1928. U.S.A.
-----------------------
THOM, ERNST
Bow maker at Bad Brambach (Saxony), 1926. Made innovations relating to the saddle and tension of the hair.
THOMA, GUSTAV
Bow maker at Markneukirchen, 1900-1908. Worked in partnership with Albert Kllner.
THOM, HERMANN
Born 1861. Worked at Schnberg (Saxony). Bows having most satisfactory complements. Splendidly accommodated with strength and elasticity. Authoritative union of German and French anti-types, through the medium of a rare understanding of perfect balance. 10, 1960.
THOM, JACOB
Born at Raab (Hungary), 1848. Established at Vienna as a maker of clocks and watches. Had a daughter who studied violin playing at the Conservatorium, and subsequently became a soloist of repute. As her reputation increased so did his interest in the art, and soon found himself dabbling at violin structure as a hobby. Natural aptitude for finesse materially facilitated the overcoming of structural hurdles. Produced a few instruments, submitted them for criticism or approval from violinists, and their testimony caused justifiable ambitions of becoming a professional. Happened to reside in a part of Vienna where a church over 350 years old was being demolished. Being fully aware of the resonant qualities of old Spruce beams, he purchased the soundest of them, and from this fine stock of material together with maple over 100 years old, made the instruments which won gold medals at Vienna, 1888, for structural and tonal superiority. Went to Boston, 1891, and took along good quantities of these particular old woods. Brought out the Thoma Solo Violin (with the assistance of his son Alexander), and quickly reached the hearts of the Americans. Produced 250 violins, 30 violas and 15 cellos. Many of them splendid replications of Cremonese models, constructed and varnished by a craftsman of all possible ingenuity. Richly sonorous tonal quality, brilliant and far carrying, assuming greater flexibility and responsiveness as the years pass by. Died 1917, after achieving the most conspicuous position among Boston makers.
------------------------------
Jacobus Thoma
fecit Viennae anno 1880
-----------------------------
--------------------------
Jacob Thoma
Maker. Boston, 1892
--------------------------
--------------------------------------
Thoma Solo Violin
Made by Jacob Thoma & Son
Boston. Mass. 19-
--------------------------------------
THOMAE, FRITZ
Born at Markneukirchen, 1901. Worked at Stuttgart, 1935. Good workmanship.
THOMANN, EDUARD
Born 1869. Resident at Baden (Switzerland). Engineer by trade, and amateur violinist. Friendly with Fiorini at Zurich, and inculcated principles of violin structure from that clever maker. Built several excellent violins on the Stradivari model, and without that pretence to originality which so frequently is the bane of the well intentioned amateur who gratifies personal vanity at the expense of true structure.
THOMAS, GEORGE JAMES
Born at Gilroy (California), 1879. Resident at Oakland (California), 1925. Practically self taught in violin building. Made first instrument in 1906. Totalled 30 interesting specimens up to the year 1925. Stradivarian modelling with very slight modification. Yellow and red shades of Italian-like varnish. Three of them made with unfilled wood and the result did not satisfy him. Then experimented with wood fillers and varnish for three years and subsequent productions treated to a special filling process, result highly gratifying.
----------------------------
George James Thomas
Maker
Oakland. Calif. 1921
----------------------------
Acquired conspicuous recognition as the discoverer of Cremona varnish, and secret of Italian tone. Undoubtedly a wonderful varnish, testified to by hundreds of makers in the United States and Europe. Obviously natural that he refused to divulge the secret, but herewith is appended a little inside information supplied by the maker - Many varnish investigators have formulated the idea that the old Cremona varnish is an oil one and this very prevalent notion is wrong. Those who declare it to have been an oil varnish, and persist in emphasising that it was prepared with a fixed oil, seem to overlook the fact that oil varnishes are a modern invention, having appeared on the horizon about the year 1800. It has long been pointed out that it is not within the power of man to impregnate an oil varnish with the intense colours that the Cremonese put into their varnishes. My varnish cannot crackle or chip off. Oil varnishes commence to deteriorate from the day they are applied - at the end of ten years they are generally very dry, very much checked, and prove to have a deleterious effect on tone. It is frequently asserted that vamish has no effect on tone, also that many old master violins though having the varnish almost completely worn away, still retain their wondrous tone, this is a mistaken idea. Although the coloured varnish may be entirely worn off, these observers fail to see and realise that the wood is still filled with a clear colourless varnish which has soaked into the pores of the back wood more especially. The Cremonese were well aware of the fact that a coloured varnish applied to the bare unprotected wood produced an injurious effect - therefore they commenced their varnishing by first applying several coats of clear uncoloured varnish which, being thin in consistency, soaked into the wood pores and acted as a filler. This filler dried, and thereby increased the density of the back wood, without increasing the mass. Now, here is a point that few investigators and violin makers seem to know, and that is the definite relationship between top and back relative to density and mass. This perhaps needs further explanation. Experimentalists have discovered that the backs and tops of the Stradivari instruments, when held up and tapped, respond to a certain note. They have also found that many other violins modern or otherwise, though having backs of the same thickness, do not produce that specially determinate note when held up and tapped. Modern makers have sensed the fact that in order to make a back correspond to the same note as the Strad backs, they are compelled to make it thicker, but in doing so they frequently increase the mass of wood, thereby destroying the proper relationship between density and mass. Their instruments do not have the Italian tone, but a distinctly modern one. Makers cannot expect to produce Cremonese tonal effects and give to their products the same appearance, unless they do things as similarly and naturally as the ancients did, also to know and appreciate the one vital thing, namely, how to make an absolute replication of that beautifully clear and coloured varnish which distinguishes the Cremona violins and which has baffled the most indefatigable searchers. Makers may measure with the acutest exactitude all Cremona instruments, and rigorously adhere to the given proportions and same thicknessing of plates, but without a filler and varnish similar to thore of my invention in order to give to the backs the proper density without increasing the mass, their efforts to produce Italian tonal quality will be permanently frustrated.
Thomas marketed his product and stood on safe ground for a good number of years, also the seemingly extravagant (to some) claims to superiority are not without considerable solidity of foundations.
THOMAS, L.
Born at New York, 1853. Studied with William Bronson and dAgostino. Produced first instrument, 1876. Built 130 up to the year 1926. Guarnerian and Stradivarian modelling. Various shades of own specially prepared varnish. Splendidly sonorous and brilliant tonal quality. Worked many years for the Willard Bryant Music House at Detroit.
---------------------------
Made
by L. Thomas
Detroit. Mich. 1924
---------------------------
THOMAS, R. J.
Established at Darlington (England). Violins, cellos and bows.
THOMAS, WATKIN
Born 1849. Died 1908. Worked all his life at Mathew Street, Swansea. Talented, but erratic and intermittent. Merit of instruments naturally very variable. Productivity fairly prolific. Many specimens with a body length of 14-1/2 inches, and other measurements in proportion. Had a predilection for arching which frequently gets near to bulginess. Workmanship sometimes careless, but other times quite respectable in neatness. Some examples not purfled. Varnish generally of dubious quality, and is even now rapidly wearing off. Tonal quality seldom to be relied upon as substantial.
--------------------
Watkin Thomas
Swansea 1893
--------------------
THOMASSIN
Worked at Mans (France). Pupil of Lupot. Elegant Strad modelling, refined workmanship. Yellow spirit varnish.
----------------------------------
Mdaille dargent
Thomassin, Elve de Lupot
fait au Mans 1851
----------------------------------
THOMASSIN
Born 1788. Died 1853. Pupil of Clment, and worked with him in the rue des Bons Enfants, Paris, from 1817. Deeply interested in Cremona lore, and tried to slightly emancipate himself with some of the traditions of the French school. Conceptions treated with a nicely trained hand. Varnish applied in a masterly manner. 25, 1930.
THOMASSIN, CLAUDE
Born at Mirecourt 1870. Studied bow making with Bazin. Several years as the head of the bow department at the Gand and Bernardel establishment, Paris. Opened own premises in the rue de Paradis, 1901. Died 1942. Bows which admirably realise that elasticity constitutes an inseparable part of strength. Beautifully designed heads. Chocolate coloured sticks thinly graduated, but so ingeniously as not to be incompatible with a certain amount of resisting power. Stamped C. Thomassin Paris. 25, 1960.
THOMASSIN, LOUIS
Born at Mirecourt 1855. Initiated into bow making by Bazin. Worked for Voirin at Paris 1872, and succeeded to his business 1885. Died 1904. Bows not escaping from the style of his famous predecessors productions, consequently we are no longer to wonder at their almost unsurpassable fineness. Stamped L. Thamassin. 20, 1960.
THOMASSOVSKY, CHARLES
Worked at Rotterdam 1895-1902. Stradivarian modelling without any particular ascendancy in conception. Handsome wood and pretty varnish. Tonal quality rather agreeable as well as strong. 20, 1920.
---------------------------
Chas: Thomassovsky
Rotterdam, 1899
---------------------------
THOMASTIK, DR. FRANZ
Anthropologist and inventor at Holesov (Moravia) 1912. Opened a workshop for violin-making at Vienna, 1921.
Particulars of his new process: -
This achieves a threefold fullness of sound in a new kind of tone character, induces peculiar vibration of the plates, and the air present inside the violin to join in the action of tone generation and sonority - conditions incompatible with procedures actually in use today. From the fact that the stretched strings of the instrument form an angle with the top of the bridge, this latter receives vibratory shocks from the vibrating strings, being subjected in this manner to a pressure effect which is moreover necessary to transmit the vibrations to the resonant body. The greater the pressure exerted on the bridge, the greater is the precision with which the resonant body renders the least vibrations of the string which is played. In any case, this pressure effort is a disadvantage as it brings about a deformation of the plates, so that these parts are deformed even before entering a state of vibration. It is known that the sound given out by a vibrating wooden plate is more musical when the plate is not subjected to internal strains during vibratiop. This invention frees the instrument from harmful effects caused by string pressure on the bridge, and the result is consummated by disposing in a convenient manner a horizontal support made from elastic yet resistant material, placed inside to run along under the joined part of the top plate, to extend from end to end of the body, and assume an elliptical shape.
Dr. Thomastik exhibited quartets of instruments at Vienna, Munich, Breslau, and other cities, 1920, and brought floods of controversy about his shoulders. It appears that he had experimented for 20 years in the hope of producing something superior to the old Italian instruments, and bearing in mind the much more definite exigencies of the concert room and the advancement of technique, etc., since the days of Stradivarius, he finally decided that it could be accomplished only by a new system of construction. The usual public performance duels with old Italian inrtruments were arranged etc., and the verdict has been that every listener (free from preformed opinions) was completely convinced that the soul of this secret tone, singing, of individual gentleness and resonant strength, and of absolutely new timbre of the Thomastik violins put the old ones quite on the floor. On the other hand, there are opinions that the discovery may be designated an enrichment in the field of constructure especially with reference to strength and fullness of tone, but that the peculiar suavity of the Italian instruments has not been achieved. Moreover Stradivarius and others of that period, have proved that their constructive and scientific principles are theoretically more correct than any proposed subsequently and it is folly to assume that these of Thomastik (fine as they undoubtedly are) can possibly supersede an unimpaired old Cremona. The future only can prove their position as competitors in the tonal race. Thomastik also invented precision steel strings G. D. A. and E., and a patent rosin.
THOMES
Probably a Bohemian. Period 1860. Outline and arching not quite pleasing to arbiters of good taste. Workmanship of scroll and sound-holes decidedly hesitant. Dark brown varnish suited to its surroundings. Branded Thomes.
THOMPSON, ALEX
Bow maker at Rock Island (Illinois), 1915.
THOMPSON, CHARLES AND SAMUEL
Sons and successors of Robert. Worked at the Sign of the Bass Violin in St. Pauls Churchyard, London, 1770-1790. Modelling mostly after the Stainer style, but not particularly complimentary to its uniqueness. Arching often quite ugly in its protuberance, being nearly flat from the centre and making a sudden swoop towards the edge, forming a pronounced groove round the margins both back and front. Whole contour of unashamed mediocrity, but the scroll has agreeable contrast of fair dignity. Sound-holes near edge, central stem almost perpendicular - upper curve might almost be termed a misnomer regarding its original intention. Inordinately inaccurate tracing of purfling, and placed very close to edge. Graduation not especially good. Belly wood not always of poor quality, and backs of plain or slightly flamed material. Lifeless dark brown tinted varnish. Tonal quality invariably weak and worn out, or nauseating in nasal harshness. Also produced small Amatese models with medium arching. Outside workmanship having a near approach to ordinary neatness. Inside work rather less satisfactory but not faulty. Belly wood of fine fibre, and sometimes one-piece backs of really pretty material. Varnish either of a chestnut hue or a lighter brown, admittedly of nice transparency. Tonal quality pleasingly clear and fairly sweet. Violas generally having a body length of 15-3/4 inches. Sometimes not purfled.
----------------------------------
Made and sold by
Chas. and Saml. Thompson
in St. Pauls Churchyard
17 London 87
----------------------------------
Branded Thompson or Charles Thompson, also Thompsons, London just below tail-piece button. 70, 1960.
THOMPSON, EDWARD FERNLEIGH MAURICE
Born at Plymouth 1892. Worked as an organ builder in 1907 at Exeter. Joined the Royal Marine Band in 1912 and after taking lessons in violin making from Alfred Dixon of Dover, repaired all the stringed instruments of the band. Left the service in 1932 and settled in Worthing where he undertook considerable repair work. Moved to Cornwall 1953, and had great suceess as a maker and repairer. Made 8 violins, Guarnerius model, dark brown and orange coloured varnish. Exhibited at The Hague 1949. Joined his son in 1957 in Howick, Auckland, New Zealand, working there 1960.
-------------------------
Made by
E. F. M. Thompson
Worthing. Sx.
1960 No. 9
-------------------------
THOMPSON, JAMES
Stradivarian outline with arching of ordinary elegance. Strong edges and large corners. Sound-holes rather long, wide, and nearly upright. Good wood perhaps too plentifully used. Ink lines in place of purfling. Spirit varnish of yellow-orange shade.
----------------------
Made by
James Thompson
Crookham 1832
----------------------
Branded J.T. under button.
THOMPSON, JAMES
Worked at Whitehouse (Aberdeenshire) 1866. Modelling almost exquisite. Edges finely thrown-up and rounded. Scroll of splendid conception. Handsomely marked wood and well varnished. Tonal quality quite captivating in its freedom. An artist-maker whose few productions should entitle him to greater recognition.
THOMPSON, JNO
Worked in London 1753-1759. Instruments not especially commendable for modelling or workmanship. Ordinary wood and varnish. Tonal quality insipidly dull and sterile, not fruitful under any bowing persuasion.
THOMPSON, ROBERT
Worked in London 1740-1769. Stainer modelling generally, with slight modifications in the arching. Though not to be termed clumsily made, these instruments are almost as far off being appellated chef doeuvres of elegance. Brownish red, or yellow varnish not to be too closely examined without dissatisfaction to the eye. Tonal quality of the nearly inanimate order easily killed by vigorous players. Also produced violins which assume an entirely separate standard from the above. These belong to his early period and have Amatese influences liberally infused. Attractively marked wood, and golden brown varnish. One specimen dated 1745, realised 200 dollars in the U.S.A., 1920. Cellos also have much to be appreciated, whereon is unfolded a graceful outline and exemplary workmanship.
---------------------------------------------
Robert Thompson at the Bass-Violin
in Pauls ally, St. Pauls Churchyard
London 1749
---------------------------------------------
THOMPSON, SAMUEL AND PETER
Samuel first worked with his father, Robert, then with his brother Charles, and finally, from 1790, with his own son Peter. Violins labelled with both names are of variable excellence, never wholly indifferent but also never high class.
----------------------------------------------
Samuel and Peter Thompson
Instrument Makers and Music Sellers
No. 75 St. Pauls Churchyard, 1794
----------------------------------------------
Peter also made violins in which he inserted his own label. Some of these are quaintly extravagant in form. Unpurfled, very pointed corners, and light brown varnish.
THOMPSON, SIMON
Worked in St. Pauls Churchyard, 1790-1802. Some instruments labelled Simon and Peter Thompson.
THOMPSON, THEODOR
Worked at Minneapolis, 1923. Pupil of Lundh. Died 1933. Enthusiastic and excellent craftsman. Exclusively Guarnerian modelling. Produced 60 splendid specimens. Golden brown spirit varnish.
THOMPSON, WILLIAM
Resident at Great Gates, Bishop Auckland, 1875-1885. Amateur. Said to have been partially blind. Modelling not altogether accurate in proportions - workmanship verging towards the primitive. No purfling and not well varnished. Yet, with all these imperfections he was rewarded with a tonal quality mildly sweet.
THOMSON
Resident at Dysart, near Kirkcaldy (Scotland), 1924. Cabinet maker who conceived a few well modelled instruments. Smooth tonal quality eluded him, and left in its place one rather strong but harsh. Whitelaws amber varnish.
THOMSON, JAMES
Worked at Berwick-on-Tweed, 1848. Produced few instruments, but each of convincing and persuasive style. A talented and enlightened maker who built violins on the soundest structural principles, and which, at the same time, have perhaps contributed to slightly accelerate the regeneration of the Northern school.
THORN, ANDERS PETTER
Born 1852 at Karlstad (Sweden). Very good modelling and varnish. Won silver medal in 1925.
THORLEY, N.
Worked at Failsworth (Manchester), 1830-1865. Orchestral player, Produced a good number of violins and cellos which were readily taken up by Lancashire players.
THORLEY, THOMAS
Worked at Manchester, 1870. Son and worthy successor of the above.
THORN, WILLIAM
Resident at South Molten (Devon), 1875. Several cellos known of excellent sonority.
THOROWGOOD, HENRY
Worked in London, 1750-1765.
---------------------------------------------
Made and sold by
Henry Thorowgood
at the Violin and Guitar under the
North Piazza of the Royal Exchange
17. . London
--------------------------------------------
THORP, FRANCIS A.
Born in Denmark, 1892. Amateur. Resident at Houston (Texas), 1926. Produced 40 violins up to year 1943. interesting Cremonese modelling, golden brown, reddish brown oil varnish.
THORSELL, HENRIK GEORG
Architect at Stcckholm, 1925. Violins consideiably praised at various Expositions. Varnish of own formula.
THORSTENSSON, KARL VIKTOR
Born 1882. Amateur at Kungsgarden (Sweden). Won medal at Bollns, 1929.
THOUVENEL, CHARLES
Worked at Mirecourt, 1780; and at Lunville from 1788. Instruments branded as though made at Paris. Solidly constructed violins sometimes unduly attacked by certain prejudiced connoisseurs. Reddish orange and brownish shades of varnish. Fully resonant tone, large and telling, but rather unsympathetic for quartet purposes. A few specimens catalogued at 30. Branded Thouvenel Paris.
THOUVENEL, HENRY
Born at Mirecourt, 1851. Died 1929. Trained in the art by Colson. Nicnamed Paganini. Stradivarian modelling in the customary Mirecourtian manner. Workmanship, in this case, rather ennobled by being well finished though possibly not to be adjudged as of immaculate delicacy. Instruments having staunch supporters in the orchestral world. Frequently one-piece backs of handsomely marked material. Light yellow-brown or orange shades of varnish. Cellos, all essential points approved of by those intelligent amateurs who are susceptible to the considerable beauties of style belonging to types other than the Italian. Also produced guitars and hurdy-gurdies. Branded Thouvenel Henry Mirecourt or Touvenel Henry (T.H..
THOUVENOT, H.
Born in France. Trained at Mirecourt. Worked many years for Hill and Sons, London. Employed by Beare & Sons, 1927.
THOW, JOHN
Worked at Dundee, 1860-1880. Stradivarian and Guarnerian modelling slightly enlarged. Workmanship of considerable neatness. Scroll and sound-holes very orderly. Golden-yellow and light brown shades of varnish applied in such a manner that the eye of the beholder receives a deep impression. Purfling cautiously executed. Wood generally well marked. Tonal quality awakening towards brilliance, and never slumbering in dullness or any occasional spurts of hardness. Dealers in the U.S.A. listed specimens at 200 dollars in 1925. Seldom labelled. Thow, Dundee stamped below button, and date stamped on scroll.
THUERER, H.
Worked at Biberach (Wrtemberg), 1895. Fairly skilful in re-toning old instruments. Made a few new violins which do not exhibit complete mastery of manipulation.
THUMHARDT (THUMHART), GOTTLIEB ALOIS
Son, pupil and successor of Johann Stephan. Worked at Straubing (Bavaria), 1817-1830. Instruments modelled on the Buchstadter style of his fathers work. Workmanship rather at variance with artistry. Thick and muddy varnish (brownish yellow) and impoverished in quality. Tonal quality being nurtured in mediocrity is relatively wearied in responsiveness.
-----------------------------------
Gottlieb Alois Thumhart
Guitarre-und Geigenmacher
in Straubing, 1826
-----------------------------------
THUMHARDT, JOHANN
Worked at Ingolstadt (Upper Bavaria), 1723. The first of this family to make violins. Long pattern and medium arching. Reddish brown varnish of tolerable transparency. Only a very few specimens exist.
THUMHARDT, JOHANN GEORG
Born and trained at Munich. Worked at Amberg (Bavaria), 1740-1784. Several hundreds of his instruments have come upon the theatre of utility, though perhaps not constituting its best and most enduring monument. Elegant outline with medium arching. Not crowned by a majestic scroll, or especially picturesque sound-holes. Excellent belly wood, and pretty backs generally. Reddish brown shade of varnish. Tonal quality of moderate strength and sweetness. Produced guitars and zithers, and was busily occupied at the Court where instrument industry was then greatly encouraged.
---------------------------------
Johann Georg Thumhart
Lauten und Geigenmacher
in Amberg anno 1784
---------------------------------
THUMHARDT, JOHANN STEPHAN
Born 1749. Died 1817. Worked at Straubing from 1769; and at Munich from 1808. Recognised as best maker of this family. Probably a pupil of Buchstdter whose style he rather exactly imitated. Modelling characteristically long and narrow. Medium arching, and with elongated waist-curves. Golden brown varnish, which has now lost its brilliance on many specimens. Tonal quality of average carrying power, well suited to the prudent bowing of amateurs, but unfavourable for the excitements of virtuosity. 20, 1925. Also produced a large number of guitars.
---------------------------------
Johann Stephan Thumhard
Lautten und Geigenmacher
in Straubing, 1806
---------------------------------
-----------------------------------------
Stephan Thumhardt
Geigenmacher und Lautenmacher
in Mnchen, 1810
-----------------------------------------
Made twelve violins for a wealthy collector. Received one ducat for the first, which seemed an absurdly small price, but he kept silent. Requested to supply a better specimen for the second, and was rewarded with two ducats. Recompensed by three ducats for the third, and so on up to twelve. Twelve progressive examples afterwards named The Apostle Violins.
THUMHARDT, JOSEF
Worked at Amberg, 1780-1842. Son and successor of Johann Georg. Instruments not so excellent as those of father. Workmanship fairly satisfactory. Good reddish brown varnish. Tonal strength endangered by excessive arching.
THUMHARDT, STEPHAN
Born at Amberg. Worked at Munich, 1835-1860, except for a brief period round about 1850, when he (according to third label), sojourned at birthplace. Talented worker who became principal repairer to the Bavarian Court. Produced guitars and a few violins.
----------------------------------------
Stephan Thumhart
Kon: Hof.v.Burgl: Geigenmacher
in Mnchen. Anno 1835
----------------------------------------
(bearing Bavarian Coat-of-Arms in centre)
THUMHARDT, XAVER
Worked at Ingolstadt, 1809; and Munich, 1847. Principally guitars and zithers. Only a few violins known.
TIBBET, JAMES H.
Resident at Brunswick (U.S.A.), 1876-1898.
TIBLEMONT MANSUY
Worked at Mirecourt, 1743-1774. Early years spent in continual struggle for adequate recognition. Gradually worked his way up until employed by various establishments in that busy little centre. Much of his excellent work branded with other names.
TIBURTIUS
see CENTURIO.
TICHY, JOHANN
Born 1809. Pupil of Soboll. Worked at Olmtz (Moravia). Died 1871. Violins of elegant outline and graceful arching. Pretty scroll and artistic sound-holes. Excellent quality of varnish sensibly applied. Tonal quality bright and clear on A and E strings, but D and G weaker and dull in comparison. Inventor of a large viola tuned an octave below normal pitch, so that viola players could play cello parts in cases of emergency. Easily handled in spite of its massive proportions.
TIEBEL, WILLY
Established at Markneukirchen, 1926. Patented the Violon-Tiebel and Cello-Tiebel. Kind of skeleton instruments with resonance horns indispensable for creating metallic and saxophone tonal effects in jazz orchestra.
TIEDEMANN, JAKOB
Born at Altenbruch (Hannover), 1879. Made first instrument out of box-wood when a boy at school. Trained himself to build on orthodox modelling, and produced a properly constructed violin in 15th year, on which he proudly and lovingly played his little songs. Gained experience with repairing and minutely examining good instruments. Studied various works on construction, but found that none elucidated the art so adequately as actual patience, practise and fluctuating experiences in experimenting will do. Regarded all his productions previous to 1912 as purely embryonic. Adopted since then, three distinctive models, Stradivarian, Guarnerian and his own. Produced splendid replications of the Paganini Guarnerius, varnish matchlessly imitated, and tonal resonance superb. Those of original pattern equally meritorious. Upper and lower plates thicknessed according to special theories of his own, and attuned in perfect fifths. Everything accurately dimensioned and arranged so as to never fail in imparting a proud and aggressively full tone easily exercised by strong bowists. Avoidance of all unnatural means of preparing the wood. Sound post, bass bar and blocks chosen after the most critical test of attunement. Oil varnish of golden brown and red brown shades. Built over 200 violins and cellos up to the year 1925. Called them orchestral, concert, solo and artist. Recipient of State prize at Berlin, 1922.
--------------------------------------------
Copie de
Giuseppe Guarnerius del Jesu. 1743
Jakob Tiedemann. Altenbruch 19-
--------------------------------------------
Others as copies of Antonius Stradivarius.
Also three small brandmarks - two under corner blocks and one under large block. 90, 1960.
TIEDERMANN, FRITZ
Established at Wolfenbttel (Germany), 1925.
TIEFFERNBRUNNER, GEORG FERDINAND
Born 1757. Son and pupil of Johann Caspar. Worked at Mittenwald, 1775-1806. Excellent modelling and varnish in Klotz style.
TIEFFENBRUNNER, JOHANN CASPAR
Worked at Mittenwald from 1746. Died 1769. A most skilful maker who fashioned an elegant model attracting several subsequent makers to facsimile. One of the few Mittenwalders who did not give the scroll a contracted and hunched-up appearance. Sound-holes also particularly graceful. Excellent wood covered with warm shade of varnish. Tonal quality nicely equalised on the four strings. Also violas, cellos and basses. 75, 1960.
-----------------------------------------
Johann Caspar Tieffenbrunner
Lauten und Geigenmacher
von Mittenwald an der Iser. 1762
-----------------------------------------
TIEFFENBRUNNER, JOSEPH
Worked at Mittenwald, 1816-1825. Specialised in production of violas. Body length, 15-3/8 inches. Stradivarian modelling seen through Tyrolean eyes. Belly wood of faint grain and one-piece backs. Workmanship furnishes an exposition of fair neatness and carefulness. Shaded orange red varnish. Tonal quality moderately full in sonority, easily responsive and clear. 80, 1960.
TIEFFENBRUNNER, KORBINIAN
Born at Mittenwald, 1836. Worked at Alttting. Produced a few violins not not especially noteworthy. Apparently failed to procure satisfactory recognition and subsequently worked entirely at zither making.
TIEFFENBRUNNER, MARTIN
Worked at Mittenwald, 1687. Worked until 1735. Trained in violin structure by Mathias Klotz. Chiefly known by a few violas of Klotz-like appearance. Style, workmanship and varnish quite commonplace.
TIEFFENBRUNNER, MATTHIAS
Worked at Mittenwald, 1832. Employed principally by dealers. lnstruments skilfully constructed and most amateurs unanimous in commendation of the tone. Excellent wood covered with a delectable shade of yellow varnish. Name, place, day and year usually inscribed with lead pencil on the back and deck.
TIEFFENBRUNNER, SEBASTIAN
Worked at Mittenwald, 1835-1847. Essayed a few attractive specimens which exhibit his mechanica1 facility with knife and brush.
TIEFFENBRUNNER, SIMON
Born 1810. Worked at Mittenwald. Died 1883. Agriculturist in summer, violin maker in winter. Favoured Stainer modelling and achieved very satisfactory results.
TIELKE, GOTTFRIED
Worked at Knigsberg (Prussia), 1650-1674. Lutes, viols and a few violins. Five-stringed double bass in the Heyer Museum.
TIELKE, JOACHIM
Born at Hamburg, 1641. Died 1719. Most renowned maker of his period of lutes and viols. Possessed a warm and vivid imagination and surrounded by an atmosphere of beautiful art treasures collected by his father, was easily impelled to conceive artistic replications. Instruments highly ornamented, sometimes beyond the bounds of necessity perhaps, but never far-fetched or inelegant. Arabesques scattered like flowers, and prismatic effects gained by rapid transition from one inlay to another. Perfect representations of decorative art, but also all structural details compatible with the sober principles of solidity. All instruments further remarkable for a wondrously sympathetic tone. Many specimens preserved in Museums. Chiterna-lutes with designs inlaid in tortoiseshell, encircling mythological deities in ivory, and sometimes lavishly inlaid with precious stones. Guitars of marvellous neatness and grandeur - very picturesque. Bass viols of more subdued external treatment, very finely proportioned and of flexible tone. Theorbos, viol damours and viola-di-bordones all profusely treated to consumate trimmings. Viol-da-gambas sometimes entirely inlaid with ivory, purfling, edges, scroll, pegs and tailpiece. Produced a few violins of lesser significance. Pretty modelling of small dimensions - Amatese characteristics not wholly laid aside. Medium arching, dark shade of golden brown varnish, and small but nicely penetrative tone.
----------------------------
Joachim Tielke
in Hamburg, Ano 1703
----------------------------
---------------------------------------
Ren. pre G Hndel
Joachim Tielke, Hamburg, 1704
----------------------------------------
Some instruments anti-dated 100 years.
TIETGEN, HANS
Born at Wankendorf (Prussia), 1857. Not apprenticed to any maker, but effected training through technical books and examination of Cremonas. Went to America, 1886, and settled at New York. Died 1929. Produced about 500 instruments. Stradivarian and Guarnerian modelling, also one of his own which partakes of the Brescian school. Masterly and perfect designs. Gleaming red varnish generally, also yellow, chestnut and orange red shades. Splendid wood amply used. Remarkably mature tone affording an instance in which the sagacity of an ingenious man has not been baffled by the difficulties usually associated with the problem.
--------------------
Hans Tietgen
New York 1901
--------------------
(decorative border, also bearing the letter T with two sound-holes)
---------------------
Hans Tietgen
XIII
New York, 1913
----------------------
(with monogram H. T.)
Written labels prior to 1901.
TILLER, C. W.
Cabinet maker at Boscombe, 1895. Resident at Bournemouth, 1927. Well constructed violins. Often one-piece backs. Oil varnish of golden yellow shade carefully applied.
TILLEY, THOMAS
Worked in London, 1770. Accurate and neat workmanship, admirable tinted varnish.
TIM-GEIGEN
Business firm of Vienna with base at Mittenwald, 1918. Published The Enigma of Violin Construction Unravelled. The secret of the Italian makers discovered and considered. Claimed to be able to reproduce Strads. Claimed that with an instrument of their invention they can modify the new wood so as to endow it with the sonority of old violins. Stated that new wood microscopically examined shows cells in form of rectangles and pentagons regularly interlaced; old wood which has been played, has the apperance of a coat of mail, caused by age and influence of atmosphere. Old wood which had not been played on was found to have retained the structure intact. Concluded that vibration of playing caused migration and dislocation of molecules. Reviewers considered this rubbish, and upon examination of one of these violins, found it to be of ordinary German make, badly fashioned with crude varnish to imitate age, immediately soluble in alcohol. Uneven cutting of sound-holes and contour.
TIMMERMAN, J. A.
Amateur at Marlot (near The Hague). Worked to an advanced age. Strad model violins. Splendid workmanship in all details, rivalling the best professionalism.
TIMTONE VIOLINS
Established at Baltimore (U.S.A.) 1927. Instruments advanced in age-effect more than 25 years ahead of other violins by a scientific process that casts out from the tiny wood cells the resin and other tone deadening particles. Advertised as extraordinary instruments with the voice of the soul. Six models from 40 to 200 dollars. Every specimen numbered, registered, and its tone guaranteed indefinitely. Somewhat similar to the Tim-Geigen previously mentioned.
TINDALL, B. B.
Amateur maker. Strad modelling with body length 14-1/8 inches. Generally onepiece backs. Golden-orange varnish.
TINCEAU, LON
Born 1876. Violinist. Worked at Orlans (France) 1914. Fine modelling, Cremonese and Lupot styles - really beautiful varnish. Certain replicas with artistically shaded oil varnish. Also cellos. Branded Tinceau, Orlans, also number, date and signature. 70, 1960.
TINNERHOLM, KNUT EMIL
Born 1869. Amateur at Halmstad (Sweden).
TIPHANON, JEAN FRANOIS
Worked at Paris 1775-1800. Lutes, viols and violins, the latter not recognised as anything beyond the ordinary.
---------------------------------
Tiphanon, rue St. Thomas
du-Louvre, Paris, 1780
---------------------------------
TIREN, KARL
Born 1869. Amateur at Bergvik (Sweden). Collector of Lapland folk songs. Presented well-made violins at Stockholm 1897.
TISCHENANT, FERENTZ (FRANZ)
Worked at Budapest 1843-1854. Died 1860. Fine flat modelling in every respect deserving of commendation. Outline beautifully symmetrical. Scroll minutely attended to, and sound-loles admirably positioned. No detail of inside work overlooked or hurriedly done. Frequently a brilliantly glossy dark or almost black varnish, which has and always will enamour the vivacious gipsy players of that country. Tonal quality audaciously telling.
-------------------------------------
Tischenant Ferentz
Heged Kszit. Pesten 18 . .
-------------------------------------
TISCORNIU, A.
Worked at Toulon (France) 1928.
TITUS, JOSEPH AUGUSTUS
Born at Leicester (Mass.) 1838. Son of an amateur violinist who owned a Joseph del Jesu (picked up in Boston for 100 dollars). Went into neighbouring villages during college days in search of old fiddles, patched them up and disposed of them to fellow students. Thus gained the necessary experience. Removed to Worcester (Mass.), 1868, and practised law, but this profession did not interfere with his inclination and ardour for serious delving into violin construction. Did not produce first instrument until 1889, and had the happiness of listening to the tone he had strived to impart. Henceforth gave deep study to the philosophy and science of tone production, paid less attention to the merely outside work, and experimented to get the greatest volume and freedom of tone. Retired from the Law, after 46 years service, and put every ounce of zeal into violin production and opened premises in Main Street. Celebrated his 89th birthday, 1927, when he was the recipient of many bouquets and more useful presents from a large gathering of friends and admirers. At least 200 violins came from his indefatigable hands. Modelling quite distinct from that of any other maker in having certain small oddities which are supposed to increase tonal breadth. Arching also differs from the customary, though the outline is plainly inspired by the Guainerius. Compounded a finely lustrous varnish of his own, which, on account of its slow drying, is not used alone, but mixed with a quick-drying preparation. Claimed superiority over most makers through his particular treatment of the bass-bar and sound-post. Unreservedly discarded the usual procedure of having a 10-1/2 or 11 inch bass-bar as likely to interfere with the perfect vibration of the parts of the top plate which have been graduated to a delicate fineness to give elasticity. Believed that it should be brought to 8-inch length (but of the same weight as the longer ones), 1/4 width at centre, and 1/2 to 3/4 in height according to the nature of top plate. Some instruments used by American soloists.
-----------------------------
Joseph Augustus Titus
fecit Anno 1926. J.A.T.
-----------------------------
TIVOLI, AUGUSTO
Worked at Trieste 1873-1883.
TIVOLI, FIORINI ARRIGO
Born 1894. Newphew and pupil of G. Fiorini. Worked at San Remo. Also capable cellist. Violins, Violas and cellos. First-class workmanship in all details. Generally Strad models. Obtained high diplomas at Rome, Padua and Cremona. 45, 1960.
--------------------------------------------
Arrigo Tivoli Fiorini
Allievo e Nipote di Giuseppe Fiorini
fece in San Remo anno 1947
--------------------------------------------
(border of small squares; lyre design and signature)
TOBIASSEN, WILLEM
Worked at The Hague 1653-1672. Made viol-da-gambas and lutes. Also manufactured strings.
TOBIN, JAMES
Son and pupil of Richard. Worked in London 1830-1850. By a mere comparison of numbers it is evident that he was far less prolific than his father, but in recapitulation of the style he must be placed on the same level. Instruments well meriting commendation as approaching much more nearly to the models he undertook to imitate than was customary among London makers of his day. Outline boldly sketched, and its various adjuncts marked with that precision and neatness which is the common prerogative of every conscientious maker. Magnificent wood covered with varnish of fine texture and colour, applied in the modest manner of the ancients. Scarcely any attempt to pass the usual boundaries of thought in the matter of thicknessing or any other adventurous flight of speculation to secure tonal amelioration. Tonal quality consistently musical and agreeable. Instruments very favourably received in America, some specimens realising 500 dollars. 50, 1960.
TOBIN, RICHARD
Born in Ireland 1777. Invited in 15th year to Dublin by Thomas Perry, appreciated the novelty of having his intuitive talents so early recognised, assiduously gratified natural curiosity to examine minutely all kinds of instruments, and to elucidate to his mind the differentiations of style, structure, and tone. Went to London about 1798, worked for John Betts and others until 1841. Never in a position to establish his own premises, apparently always in more or less straitened circumstances owing to dissolute habits, negligence and follies suppressed ambitions of soliciting influential patronage - satisfied his conscience by disposing of his instruments to any dealers - brought down criticisms, not for any deficiency in workmanship, but in morality. Ended his days in Shoreditch workhouse. A genius, particularised for superb cutting of scrolls, the distinctive mark by which his work is always identified whether labelled with his name or others more famous. Enthusiastically preferred to copy the Grand-Strad model, and, whether spiritually or structurally, no blemish is discoverable. Not the tiniest touch of anything improper in arching, corners, edges, or curvatures. Design of sound-holes fully demonstrate his artistic conception and facile manipulation. Excellent belly wood, sometimes of wide grain, seldom one-piece backs. A vein of Cremona devotion runs through the superb varnishing, light brown and teddish brown both effectively tinged golden. Tonal quality savours of rich sonority, and well calculated to fit the necessities of soloists. Guarnerian models have the same spiritual replication, same warmth and brilliancy of tone, same finished workmanship, and a conspicuously grand scroll. Best specimens easily worth 50, 1930. Finest examples generally without a label, others of course, have been subjected to the insertion of Cremona facsimiles. Only a few bear own label. Name sometimes branded below button. 125, 1960.
TODD, G.
Worked at Tweedmouth near Berwick 1898.
TOLBECQUE, AUGUSTE
Born at Paris 1830. Son of Auguste Joseph (violinist). Studied cello playing at the Conservatoire; won first prize; toured as a virtuoso. Professor at Marseilles Conservatoire; settled at Niort 1858. Indefatigable, collector of ancient instruments and books which were purchased by the directors of Brussels Conservatoire 1879. Composer of studies and solos for the cello. Considered that the only rational string quartet could be ensembled by four instruments of the 17th century. Organised concerts to exhibit these ideas. Author of The Luthiers Art (Paris, 1890) and two other books relating to the subject. Studied violin making with Rambaix at Paris. Built several instruments of much ingenuity and uniform good intention. Most of them valued at 30. Also produced old master imitations which display defects in judgement and a too evident propensity to support a favourite hypothesis. Versatility further emphasised by being an organist as well as a modest organ builder.
-----------------------------
Ate Tolbecque fils fecit
Parigi anno 1851
-----------------------------
(written)
Name honoured by a Musical Fete at Niort, 1910 at which Saint-Saens presided. 45, 1960.
TOLLA, NICOLA
Born at Sal 1861. Carpenter. Produced violins and guitars which gained gold medal and other honours.
-------------------------------------
Tolla Nicola Sal Fabbricatore Strumenti Corda
Premiato con Medaglia dore
-------------------------------------
TOLLEFSON, OLE
Born in Norway. Went to the United States. Became naturalised. Trained by Whitcomb at Milwaukee. Resident at La Crosse (Wisconsin) 1915-1926. First instrument produced in 1890. Subsequently made about 100 violins, violas, and cellos. Stradivarian modelling very convincingly accomplished. The whole pervaded by elegance, ingenuity, and neatness. Somewhat shaded dark-red varnish.
-------------------
O. Tollefson
O.T.
No. 19 . .
Lacrosse, Wis.
-------------------
(oval shape)
Also produced well-finished bows.
TOLLEY, WILLIAM HENRY
Born at Hanley 1894. Pattern maker. Resident at Miles Platting (Manchester), 1924. Stradivarian modelling. Golden-brown varnish.
TOLMIE, G.
Amateur. Resident at Hanwell (Middlesex), 1900. Violins very well constructed. Good wood rationally varnished. Imparted a completely satisfactory tone.
TOMALEVSKI, NAUM K. K.
Violin maker in rue Nisch, Sofia (Bulgaria), 1925. Little known.
TOMASCHEV, DANIEL
Established at Moscow, 1906-1918. Pupil of Chilinski; and worked with Geisser at St. Petersburg. Produced bowed and plucked instruments. Violins of truly elegant design. Top plates unfortunately too thick, causing an infringement on smoothness and freedom of tone. Reddish brown varnish.
TOMASI, CARLO GASPARO
Worked at Modena, 1680-1720. Principally lutes and viols. Produced a few violins notable for beautifully transparent varnish.
TOMASSINI, DOMENICO
Born at Viterbo, 1892. Horn player at the Opera, Rome. Also professor at the Conservatorio. Called Mariano. Produced a series of splendid violins - Strad or individualistic modelling. Oil varnish of old golden yellow or red shades. Instruments highly praised by members of the several fine orchestras in the city. Also five-string violas and five-string cellos. 95, 1960.
---------------------------
Tomassini Domenico
tu Mariano
Da Viterbo.
Anno 1949. Op 26.
---------------------------
(design on left)
TOMASSUCCI, CIGNO
Born at Arrone, 1912. Pupil of brother Giasone. Violins of a few individualisms - spirit varnish of reddish hue on golden ground. Also produced guitars, mandolines, flutes and clarinets.
-----------------------
Tomassucci Cigno
fece in Arrone
(Umbria)
Nel 1949
-----------------------
(large, with signature)
TOMASSUCCI, G.
Born at Arrone, 1896. Pupil of Leonardi at Spoleto. Established at Rome, 1926. Violins of Strad, Amati and personal models. Thickish golden orange varnish. Also violas and cellos. Author of a short essay on Gums, resins and other dissolvents.
--------------------------
Giasone Tomassucci
fece in Roma
A.D. 1949.
G. Tomassucci
--------------------------
(artistically scrolled)
TOMASZA, R.
Worked at Cracov (Poland). A few violins known. Made guitars of various sizes, including some with cello-like bodies.
TOMAY (TOMAZY), NASIJ
Established at Zagreb (Croatia), 1900-1925. Maker of the indigenous Tamburitzas. In partnership with Tkaleic.
TOMON, CARIO
Bow stamped with this name in Ble Museum.
TONIDE, CARLO
Born at Bologna. Worked at Venice. Large modelling. Body length, 14.3/16 inches. Very flat arching and broad flat edges. Large sound-holes not accompanied by grace. Belly wood of excessively wide grain, 1/4 of an inch in places. Massive scroll with inelegantly prominent boss. Yellow brown varnish of excellent texture.
------------------------------
Carlo Tonide Bolognese
fece Venetia. 1728
------------------------------
Seemingly nondescript violins treated to a corrupted Tononi label.
TONNA
Worked at Lavaletta (Malta), 1850-1860. Presented a beautifully made double bass at the London Exhibition, 1851. Rounded corners and back of birds-eye maple.
TONONI, ANTONIO
Worked at Bologna, 1640-1660. Work little known.
TONONI, CARLO
Born 1675. Son of Felice. Worked at Bologna, 1695-1720, and at Venice, 1724. Died 1730. Modelling of fairly massive proportions. Finely graduated arching of very slight and gentle rise. Workmanship proves he was no circumscribed craftsman in a narrow field. Singular union of dignity and feminality pervades the scroll though of large dimensions. Sound-holes also boldly conceived, and seem cut with alacrity as well as certainty. Very flat margins and broad edges. Highest degree of accuracy displayed in the purfling. Yellow varnish which has justly received homage from connoisseurs. Splendidly sonorous and noble tone, placing, in penetrative intensity, many others (usually considered to be securely entrenched in this particular quality), into a comparative by-path. Cellos having similar characteristics and magnificently broad tone. Pocket fiddles gorgeously decorated with inlay.
--------------------------------------------
Carolo Tonocus fecit Bononiae
in Platea Castaelionis, anno Domini
1698
--------------------------------------------
---------------------------------------------
Carolus Tononi fecit Bononiae in via
Sancti Mamantis sub signo Sancte
Caecilie, Anno Domini 1716
---------------------------------------------
(with two designs encircled by an octagonal border)
------------------------------------------------
Fornito di me Carlo Tononi in Bologna
in S. Mamolo al Insegno di S. Cecilia.
Anno 1715
------------------------------------------------
Name often branded near tail piece. Monasterio (renowned Spanish virtuoso) played on one dated 1698 which was frequently attributed to Stradivari. Ribs and scroll of pretty material. Light orange brown varnish, also a luscious rich reddish brown, not especially velvety. Tonal quality crisp and bright, very responsive and evenly balanced, splendidly sonorous though not of great power. Measurements of an example dated 1732: body length, 14.1/16 inches; upper bouts, 6-1/2; middle, 4-1/4; lower, 8-1/4. One specimen dated 1739, realised 4,000 dollars at New York, 1921.
------------------------------------------
Carolus Tononi Bonon. restaursuit
Venetijs 1721
------------------------------------------
--------------------------------
Carlo Tononi Bolognese
fece in Venezia lA; 1729
--------------------------------
------------------------
Carolus de Tononis
fecit Venetiis 17-
------------------------
-------------------------------------
Carolus Tononi Bonon. fecit
Venetiis sub Titulo S. Ceciliae
anno 1739
-------------------------------------
Monogram often branded above tailpiece pin. Supposed to have studied or worked with Montagnana and Santo Serafino at Venice. 800, 1940.
TONONI, FELICE
Worked at Bologna, 1670-1718. Later years associated with his son Giovanni. Productions unquestionably of sterling merit in their particular style. Longish model. Though the arching is high, it would be an injustice to his ingenuity if we did not allow him, unequivocally, praise for well-thought out graduation and harmonisation with the curvatures of the outline. Yellow or yellow brown varnish of rather splendid transparency. Especially famed for particularly fine cellos which generally follow the Amatese model. 500, 1960.
-----------------------
Tononi di Balogna
fecit, anno 1670
-----------------------
-----------------------
Tononi di Bologna
feee, anno 1683
-----------------------
TONONI, GIOVANNI (JOANNES)
Son of Felice. Worked at Bologna, 1687-1705, and later at Venice and Rome. Violins often of an enlarged Amati pattern, although there are occasional specimens of slightly smaller dimensions. Each instrument has an assemblage of elegancies. Varied arching - never very high but mostly just over medium, whilst others are a trifle under. Sound-holes accurately cut and very gracefully disposed. Quaintness and daintiness characterise the comparatively small scroll. Rich varnish of a golden brown shade, slightly tinted with red, on a yellow ground, of fine texture, brilliance and durability. Tonal quality delightfully silvery and warm, also of clear penetrative force without however, being completely full. Most connoissuers give these instruments premier place as being in every respect superior to either of the Carlos. Measurements of one dated 1699: body length, 13-7/8 inches; upper bouts, 6-3/8; middle, 4-1/2; lower, 8; depth of ribs, 1.1/16 to 1-1/8. Backs sometimes of rather ordinary material, but also others of broad flamed beauty and of one piece. Most minute examination will fail in finding a shadow of any sectional inaccuracy or imperfection, external or internal on his magnificent violas. Measurements of viola dated 1692: body length, 16-3/8 inches; upper bouts; 7-1/8; lower, 9-1/8. Cellos forcibly precise in Amatese outline and arching, contour of a sort of delicate masculinity. No appellation is too fullsome to describe these gorgeous instruments, and more particularly those having a yellow brown tinged with red varnish. 650, 1960.
-------------------------
Joannes de Tononis
fecit Venetiis 17-
-------------------------
-------------------------------------------
Joannes de Tononis fecit Bononiae
in Via Mamuli Anno 1699
-------------------------------------------
----------------------------------------
Joannes Tunonus fecit Bononiae
in Platea Pauaglionis
Anno Domini 1690
----------------------------------------
TONONI, GUIDO
Worked at Bologna and Rome, 1690-1760. Brother of Giovanni. Happy conceptions of the Grand Amati modelling. 450, 1960.
TOOMEY, TIMOHY
Born at Middlesbrough, 1868. Apprenticed in early life to a chemist. Abandoned that business in 1891. Subsequently earned his livelihood as an orchestral violinist and teacher. Resident at Fulham (London), 1920, where he found much patronage as a repairer and dealer. Produced 12 violins and 1 viola at Bolsover (Derbyshire) prior to the year 1897. Remainder all made in London. Semi-original model, outline suggestive of the Guarnerius, arching, width of bouts and depth of ribs more Stradivarian. Workmanship generally of that exactitude which cannot be contradicted. Completely successful scroll apparently carved with comparative ease, fairly massive and proudly belonging to the general tendency of the design. Sound-holes of nice freedom and symmetry, confidently cut, with wings (particularly the upper) cut off rather horizontally. Purfling also without any irregularity. Well chosen wood of pretty figure and good resonance. Experimented with varnish since 16th year; had many hindrances and failures to try his patience, but after continued re-starts, eventually satisfied himself with an oil preparation containing a certain amount of amber mixed with other gums. A rather nice looking and elastic varnish, not ingratiatingly infused with too much colouring matter, and of a reddish orange shade. Commendable tonal quality, agreeably resonant and brilliantly even. Violas and cellos equally praiseworthy.
---------------------------
No. 13 Made by 1920
Timothy Toomey
London England
---------------------------
Inventor of Toomey resin.
TOPPANI, ANGELO DE
Worked at Rome 1720-1753. Interesting violins finely representing peculiarities of the Roman school. Modelling considerably influenced by that of Techler, but with more pronounced arching. Contour pervaded by a strong and graceful masculinity. Body length 35.6 cm. Sound-holes perhaps slightly over-licensed in width and length. Two shades of varnish, golden-yellow and dark red on yellow ground, both luminous and not meagrely applied. Tonal quality of ingratiating sweetness but never brilliant.
--------------------------------
Angelus de Toppanis fecit
Romae. Anno Dni 1735
--------------------------------
TOR, NICOLAS
Worked in Holborn (London) 1810-1820. Guarnerian modelling. Edges unnecessarily thick. Scroll picked out in black. Dark shade of reddish-brown varnish inclining to a purple tint, worn parts showing a straw colour ground.
------------------------------------------
Nicolas Tor over against Furnivale
Inn Gate in Holborn, 1814
------------------------------------------
TORDAI, ARPAD
Born 1898. Amateur. Resident in Solgotgnbun (Hungary). Studied Mckels Manual. Gained diploma of honour at The Hague 1949. Excellent Cremonese modelling, varnish of spirit and oil.
---------------------------------------------
Hszitette szm
Tordai Arpad
Solgotarjnban Hongrie 19 . . vben
---------------------------------------------
TORELLI, A.
Worked at Verona 1625-1632. Very fine workmanship.
TORIN
Worked in London 1750. Modelling of medium arching. Not especially ingenious in construction although solidly put together. Workmanship of the ordinary amateur of the period. Boldly cut scroll rather conspicuous from other parts in being really well finished. Slanting soundholes not assuming much grace. Warm shade of excellent varnish. Branded Torin, Drug Lane, London on top of back.
TORIN, J.
Stainer modelling not well replicated. Small and contracted scroll as though ashamed of itself. Dark brown varnish of poor quality. Signed in ink on belly and back.
TORMA, JOHAN
Born at Zombor 1885. Worked at various places in Hungary. Established at Novi Sad (Yugoslavia) 1912. Splendid Guarnerian modelling, impeccable workmanship, varnish of dark hue on golden ground. Also double-basses which have gained considerable popularity.
-------------------------------------
Faciebat Joannes Torma
Neoplantae 19 . .
Reparavit J. Torma
Legedukezsito. Ujvidek. 1912
-------------------------------------
(oblong, block letters)
TORMA, JOHAN JUN
Born 1919. Son and pupil of the preceding. Similar model and varnish.
-------------------------
Torma Johannes Jn.
Novi Sad 1950
-------------------------
TOROSSI, CESARE
Worked at Novara (Italy) 1820-1848. Little known work.
----------------------------
Cesare Torossi
in Novara lanno 1844
----------------------------
(decorative border)
TORR, ERNEST
Born at Bootle, near Liverpool, 1871. Commenced by reading text books and examining standard model instruments. Worked for G. Byrom at Liverpool 1920-1921. First instrument dated 1903. Built 100 violins, 7 violas, and 5 cellos up to year 1927. Guarnerian, Stradivarian and own modelling. Had a decided and definite preference for the Strad. Orange, red, and brown shades of varnish. Some specimens treated as though well worn. Experiences and observations led him to the wise conclusion that it is practically useless to oppose or attempt to alter any of the principles established by Stradivari, either in design or construction. Considered that spirit varnish, or glue, or any other size, will ruin the tone and appearance of the most perfectly constructed instrument. Made a complete violin, and prepared it absolutely for performance, within 54 hours actual work. Arrived at excellent tonal results by working systematically in the following manner -
(1) In thicknessing the plates, after the first full thickness and tapering have been adjusted, he weighed the plate and continued to thin it until its weight was reduced to the number of ounces definitely desired.
(2) Same with upper table - back weight as proportionate to the table as 3 is to 2.
(3) Instrument when varnished and strung, not to weigh more than 15-1/2 ounces. In his opinion this system automatically makes allowance for the diffetent densities of the blocks of wood used in violin making. A fairly hard tough back works out slightly heavier than a soft mild one, this also applying to the table. Built two violas on the principle of calculating the weights in proportion to the superficial area of the plates, and both have a finely resonant tone. Made comparatively unlimited experiments in varying the weight of plates in fractions of ounces. Early specimens quite ordinary and with scrolls none too well done. Later period instruments in design, workmanship, and varnish merit 95 points out of the possible 100.
---------------------
Ernest Torr
Liverpool, 1927
---------------------
(artistically scrolled)
TORRESSAN, ANTONIO
Born 1802. Worked at Crespano. Died 1872.
TORTOBELLO, FRANCESCO
Worked at Rome 1677-1684. Enjoyed the patronage of nobility, and furnished them with all kinds of instruments, Rome then being a centre of wealth. Many amateurs in high society circles did not demand that kind of work which called forth inventive genius, and which, by joining the efforts of the hand to those of the mind, produces real pioneers in art. They wanted something pretty to look at, and something not too brilliant in tone to suit the sunny ease of their days. Tortobello though especially adapting himself to the caprices of these patrons in the way of highly decorating his instruments in all sorts of fanciful inlay and gems, nevertheless found opportunities of occasionally building violins and violas unadorned except by neat workmanship and good golden-brown varnish - usually in the style of Maggini. 125, 1960.
TOSSELLI, ENRICO
Worked at Turin 1880-1890. Guarnerian modelling, but of slightly larger proportions and definitely too heavy-looking to be classed as a true replication. Sound-holes of good length and well copied. Workmanship without blemish except the lack of superfine finish. Belly wood of strong reed, and back of broad flame. Large scroll. Purfling set fully 3/16th of an inch from the edge - unusually wide, two outer lines thick and black with very thin central white streak. 90, 1960.
-------------------
Enrico Tosselli
Turin 1883
S.23
-------------------
TTH, JNOS
Born at Magyarkanizsa (Hungary) 1875. Worked at Szolnok; and established at Budapest 1910. Held in high esteem by Hubay, Gobby, and other professors at the various Conservatoriums. Generally conceded that he rightfully held the position of being the best Hungarian maker, 1925. Died 1944. Shop sign - Guarnerius. Stradivarian and (principally) Guarnerian modelling. Style and workmanship magnificently artistic and perfect in craftsmanship. Yellow-red varnish gloriously illustrating the beauty of the wood. Also of considerable literary attainments, several erudite violin essays standing to his credit and extensively circulated throughout Hungary and Austria. Instruments bear his name in gold lettering, also a number, and the sign I.H.S.
-----------------------------------
Joannes Tth
fecit propria manu
anno 19 . . Budapestini op. .
-----------------------------------
Assisted by Therese (daughter) born 1905. 90, 1960.
TTH, SNDOR (JUN.)
Born 1868. Pupil of Schunda at Budapest. Worked at Vienna, Berlin and Prague. Established at Szegedin (Hungary) 1895. Artistic work which gained high appreciation from connoisseurs. Member of the jury at the Universal Exhibition, Paris, 1900.
TTH, TERESIA
Born 1902. Daughter of Jnos. Studied the violin at Budapest Conseivatorium. Became interested in violin construction, and worked with father. Married Hugo dAmelio 1936; and opened premises as a professional maker at Rome. Won gold medals at Venice and Budapest. Produced 51 violins up to year 1950. Fine achievements in Strad and Guarnerian modelling. Golden-yellow oil varnish.
------------------------------------------------
Theresia Tth
Johannis Toth filiague discipula fecit ad
propriam formam
Budapestini
Anno 19 . . Op. .
------------------------------------------------
TOTIS, GIUSEPPE
Resident at San Vito Tagliamento (Gorizia), 1937.
TOUCHE, FIRMIN
Violin Professor at the Paris Conservatoire, 1910. Born at Avignon. Renowned soloist and quartet leader 1922. Inventor of a bow for stringed instruments.
TOUCHE, NICOLAS
Old French. Little known work.
TOULY, CLAUDE
Worked at Lunville (France) 1745-1756. Built a few violins somewhat in the style of Guersan. Good modelling, generally high arching. Yellow varnish rather meagrely applied. Produced viols of five strings with the upper and lower plates unduly arched.
-----------------------
Par Claude Touly
Luneville 1752
-----------------------
Also branded C. Touly.
TOULY, JEAN
Worked at Nancy 1730-1750. Modelling and workmanship very creditable. Instruments not to be hailed with high anticipations of anything remarkable in tonal quality. 65, 1960.
----------------------------
Fait par moy Jean
Touly, Nancy, 1747
----------------------------
(small, and flourishing writing)
TOURNATORIS
Bow maker at Paris. Died 1813.
TOURNEY, W. N.
Worked at Seattle (U.S.A.) 1915.
TOURNIER, JOSEPH ALEXIS
Born at Paris 1842. Died 1903. Built 20 violins, also quartets, as well as guitars. Branded J. Tournier, Paris.
TOURNIER, HENRI
Born 1874. Son of J.A. Gained full experience in fathers atelier. Established at Paris 1914-1925. Stradivarian modelling of French conception. Workmanship rather meritorious. Red varnish of good quality and splendidly applied. Also violas and cellos.
----------------------------------
Les Fils de J. Tournier
Luthiers - 49 Rue de Rome
No. . . Paris. 19 . .
----------------------------------
Same label used by his son Claude - also signature.
TOURON, FRANCOIS
Worked at Perpignan (Pyrenees). Inventor of the Tenor - the principal instrument of the Cobla orchestras in Spain.
TOURTE (LE PRE)
Bow maker. Settled at Paris 1740. Worked until 1780. Bows that show a marked improvement on those of any predecessor. Used lighter wood and proportioned the stick more accurately, and gave it the backward bend indispensable to its elasticity. The first to discontinue the use of one or more notches on the stick to which the frog was moved to tighten or loosen the hair. Replaced this imperfect device by the use of a screw through a threaded pin inserted on the lower side of the frog, which was placed in a groove cut in the stick, gradually moved the frog, and thus increased or diminished the tension of the hair. Nut and head of screw generally of ivory. Rather quaint-looking bows, elegantly fluted for half or whole length with small but strong heads. Deep red or chocolate coloured sticks, round, and octagonal. Genuine examples very seldom stamped. 60 to 90, 1960.
TOURTE, FRANOIS (LE JEUNE)
Born at Paris 1747. Younger brother of Xaver. Destined by his father to be a clock maker. Had no general education, quite illiterate, knew not how to read or write. Worked from an early age for various watch and clock makers, scarcely made enough money for subsistence, and after eight years abandoned that trade in favour of bow making. Made his first bows from staves of old sugar casks from Brazil, as he could not afford to purchase expensive woods. These early attempts laid the groundwork of his genius, and encouraged him to pursue his course straight to the goal of his ambition. Enthusiasm turned his mind into perceiving the imperfections of existing bows and planning their improvement, amending the vagueness and uncertainty of balance, and supplying lightness with strength. Fascination to do superior work to that of contemporaries insensibly grew on him, and he had that patient stamina which enabled him to proceed slowly but very surely and he planted marvellous stocks for posterity to graft on. He seems to have had a very ingenious way of cutting (instead of resorting to heat) the necessary curve direct from the wood, yet preserving the same grain throughout, thus preventing any warping. Heads beautifully squarish. Many sticks are of dark Pernambuco, but a lighter coloured wood known as grey Pernambuco - which is rich looking - was occasionally used; and several of a chocolate colour are known. Also at one time in his career he made a few bows with grandly attractive heads like those of cello bows for which he used a reddish Carpathian wood. Round and octagonal sticks. Enlightened on many points by the great Viotti (who lived at Paris from 1782 for several years). Achieved all the rightful elasticity, balance and strength for a solo players vehicle, and standardised the length (including the head) to be 29-1/2 inches. Rich collectors have given 200 for gold-mounted specimens. Tried Various woods for his next essays, and was content to get a couple of shillings for any of them. Ultimately found that Brazilian wood (preferably Pernambuco) were the only ones to give elasticity and strength combined. Searched the warehouses that stored such material, and spent hours trying to find straight pieces without defects of knots and twists. For the bows made at this period he was able to demand thirty shillings, and this prosperity enabled him to take a fourth-floor atelier on the Quai de lՎcole. There he worked quietly for his art uninterruptedly until his 85th year when failing eyesight necessitated complete cessation. Died 1835.
Business card in 1774 -
------------------------------------------
Tourte le Jeune
fait et vend toutes sortes darchets
Demeure quai de lՎcole, maison
de marchand de musique, ci
devant Gaff du Parnasse No. 10
au 4me A Paris
-------------------------------------------
Seldom branded his name, but two bows are known to have a very diminutive engraved label glued into the slot with the inscription in French This bow was made by Tourte in 1824, age 77 years. Hundreds of bows bearing his name have emanated from Mirecourt, also many makers have closely imitated his style and branded his name on the sticks, so that a genuine Tourte is not easy to distinguish. 250, 1960.
TOURTE, PIERRE
Violins of medium arching, long sound-holes, and a nicely cut females head in place of scroll.
----------------------
Pierre Tourte
Fait Paris, 1747
----------------------
TOURTE, SAVRE (XAVER)
Known as lAin. Worked with his father from 1770, and later succeeded to his business. Produced many truly excellent bows, generally octagon sticks of a deep reddish colour, sometimes round sticks of a light chocolate shade. Stamped Tourte aine. 90, 1960.
TOUSSAINT, A.
Bow maker. Worked in rue Vuillaume, Mirecourt, 1925. 20, 1960.
TOUSSAINT, EMILE
Born at Mirecourt 1845. Worked at Berlin 1890-1913. Excellent replicas of old Italian models, well varnished with a preparation which he advertised as the discovery of the Cremonese secret. Also produced bows of various models.
TRACY, JAMES
Born at Baltimore (U.S.A.) 1873. Bricklayer. Resident at Rock Hall (Maryland), 1927. Stradivarian outline with Guarnerian sound-holes, Workmanship not especially well finished. Some instruments not purfled. Roughly cut scrolls, but have a certain personality not easily dismissed. Written label.
TRAMONTI, RODOLFO
Born 1901. Resident at Forli, 1925. Won gold medal at Bolzano 1931, and silver medals at Rome and Padun. Produced 165 violins up to year 1950. Strad modelling and oil varnish.
-----------------------
Fece + A
Forli 1947
Rodolfo Tramonti
-----------------------
(large and elaborate - with girl playing violin, and circular design)
Also branded Rodolpho Tramonti fece a Forli. 85, 1960.
TRAPANI, RAFFAELE
Worked at Naples 1800-1838. Individualistic style in large modelling. Many curious characteristics plainly evident. Flattish arching but looks slightly too full-bodied.. Very prominent edges. Purfling wide, and heavily inlaid, though not coatsely. Pointed sound-holes with top and bottom portions not cut through, entirely ungraceful. Rather clumsy scroll, with an abortive attempt to imitate the Brescian style of cnrvature towards the boss. Reddish-brown varnish thickly applied. Whole workmanship not qualified to arouse admiration, inside work suggests he did not always recognise the existence of established scientific principles, but the Gagliano-like tone is splendid. 60, 1940. Cellos less capricious and more highly valued than the violins. 85, 1960.
---------------------
Raffaele Trapani
Napoli No. . .
---------------------
TRAPP, HERMANN
Born at Neukirchen 1855. Pupil of Pfretzschner. Established at Wildstein 1893. Won medals at Paris, Vienna, and Prague.
TRASNY, JOSEF
Born at Schnbach 1825. Pupil of Placht. Instruments date from 1850. Workmanship deserves high-toned praise. Tone of considerable freshness and vitality.
TRAUTNER, HANS
Born 1870. Hairdresser at Ansbach. Became a professional violin maker 1907. Model entirely of own conception.
TRAVERS, G.
Born 1878. Amateur. Resident at Scampierdarena (Genoa). Excellent modelling, sometimes fanciful heads, reddish spirit varnish.
------------------------
Traverso Giuseppe
Scampierdarena
24/12 1949
------------------------
(written)
TRAVNICZEK (TRVNICEK), FRANTISEK
Born at Iglay (Moravia) 1877. Apprenticed to the firm of Gabr: Beer and Sons; and worked at Vienna. Established own workshop at Brnn (Moravia) 1902, after working for a short time with Kliment. Modelling after Stradivarius, Guarnerius and Maggini. Workmanship reaches highest point of ambition. Red and yellow shades of oil varnish, slow drying and fiery. Tonal quality attracts amateurs and profession ls. Recipient of two medals at Vienna and Paris, 1907 and 1908.
---------------------------------
Franciscus Trawniczek
fecit Brunensis Anna 1920
---------------------------------
TRAXLER, H. M.
Born in Ohio 1858. Worked in Des Moines, Denver, and Portland (Oregon). Ultimately settled at Butler (Ohio) 1890-1927. Owner of a small ranch of eighteen acres, and raised strawberries etc. during summer. Attended to violin making and repairing during winter months. Two models - long Stradivarius and Amati. Red and brown varnishes. Produced about 250 instruments. Workmanship thoroughly satisfactory to artistic judgement. Contour pays fair tribute to ideality. Modelling rigidly logical.
TRIEBER, GASPARD
Born at Mittenwald 1863. Worked at Rio de Janeiro. Returned to birthplace 1900. Ordinary work.
TREIBER, LUDWIG
Worked at Mittenwald 1860. Ordinary Tyrolean modelling, with unattractive dark varnish.
TRESSELT, JOHANN BALTHASAR
Worked at Grossbreitenbach (Thuringia) 1739-1750. Good workmanship, scholarly modelling well worth looking at. Traits of character expressed with peculiar strength. Outline beautifully rounded, sound-holes very artistic.
TRESSELT, LORENTZ
Worked at Grossbreitenbach 1774. Workmanship takes the same high grade as that of J.B. Similar modelling. Wood nicely selected.
TRESSELT, WILHELM
Born 1751. Worked at Breitenbach. Died 1825. Known for excellent double-basses - brownish-yellow vamish.
TRESSELT, WOLFGANG NICOLAUS
Born 1732. Died 1778. Worked at Grossbreitenbach. Name sometimes given as Tressolt and Treffelt. Instruments rescued from the commonplace by reliable and conscientious workmanship. Attention so irresistibly drawn is not maintained when examining the wood, which is invariably of the poorest quality. Brownish-yellow varnish also rather disappointing. Cellos accounted superior to the violins.
TRVILLOT
Fifteen of this name worked at Mirecourt 1645-1760.
TRVILLOT, CHARLES.
Worked at Mirecourt 1690-1717. Primitive modelling, an attempt at Amatese outline, sudden high arching at centre, whole contour having a pinched appearance, long and drooping corners, long sound-holes slightly inclined and with upper aperture as large as the lower, one thick black line for purfling, radical scroll, yellow-brown varnish.
TRVILLOT, CLAUDE
Worked at Mirecourt 1670-1698. Ordinary style of the old French but of an excellent class worth a little praise from connoisseurs. Well seasoned wood. 20, 1930.
TRVILLOT, FRANOIS
Worked at Mirecourt 1650-1680. Labelled his instruments as though emanating from Cremona. Pupil of Mdard. Modelling rather long and narrow, but not without considerable elegance. Elongated sound-holes, opening too wide at centre, and not of triumphant grace. Yellow varnish fairly golden in hue and semi-supple. Tonal quality rather absent of the onward growth of maturity.
TRIBOUT
Worked at Sedan (France) 1760. Second-rate workmanship, varnish of sombre hue.
TRILTSCH, WILHELM
Established at Schnbach 1925. Excellent instruments with regard to construction and tone. Superior to many of the mass productivity emanating from that industrious centre.
TRIMNEL, JOSEPH HENRY
Worked at Birmingham 1840-1904. Workmanship rather commendable though distinctly amateurish.
TRINELLI, GIOVANNI (1)
Born at Villalunga (Italy). Worked at Scandiano. Died 1825. Large patterned and thickly wooded instruments. Workmanship sometimes not highly finished. Varnish also unsatisfactory. Comparatively few specimens known. Powerfully round and full tone. 90, 1960.
-----------------------------
Johannes Trinelli, 1810
-----------------------------
Some labels without date.
TRINELLI, GIOVANNI (2)
Established at Milan 1917-1925. Modelling after examples of Stradivarius and Bergonzi. Bright red varnish for the former - dull orange tinted red for the latter. In these conceptions there is a feeling which ensures a welcome, notwithstanding the occasional defects (very slight, and possibly to be more generously attributed to a strain of originality) in technical achievement. Excellent purfling, sometimes not going right into the waist points. Scroll unusually flat at the approach to the top, and a very deeply cut throat, yet there is a subtle attraction which speaks of originality.
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Giovanni Trinelli
copie de Antonius Stradivarius
fecit Milano. 1922. No. 361
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Giovanni Trinelli
Copie de Bergonzi
fecit Milano. 1918. No. 215
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Second line written. 250, 1960.
TRINGHAM, HENRY
Worked at Shrewsbury 1835-1860. Modelling without fine feeling for the tout ensemble. Workmanship shows a general disregard of delicacy. Metallic and unsympathetic tonal quality.
TROCARD, JEAN
Worked at Mirecourt 1751-1789. Robust modelling, but touched up with reasonably delicate workmanship. Drawn purfling. Light-brown vamish slightly hard looking. Branded Trocard with a heraldic lily and two hearts above it.
TROIANI, CARLO
Worked at Rome 1875-1910. Little known work.
TROIANI, FRANCESCO
Worked at Rome 1880-1916. Conventional contour with a modicum of gracefulness, but lacking the dignity usually associated with Italian violins. Tonal quality not invested with especial charm.
TROIANO, S.
Worked at Bernalda (Matera, S. Italy) 1937. Produced 135 violins up to year 1949. Also cellos, guitars, replicas of Gasparo de Salo double-bass, and a few copies of old viols. 125, 1960.
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Lavirato tutto a mano dal
Liutaio
Scipione Troiano
Matera Bernalda
Anno 1947.mese Marzo
N derdine 148
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(with signature)
TRON ISAAKSEN
see ISAAKSEN.
TROST, E.
Worked at Heidelberg 1865-1890. Very few seen.
TROSZCZYNSKY, CAROL AND SZYMON
Worked at Warsaw 1830. Little known work.
TROTMAN, WILLIAM
Worked at Hereford 1840-1860. Small Amatese model.
TRUCCO, GIROLAMO
Worked at Savona near Genoa 1840. Contour individual, yet appearing entirely natural, reflects highest credit to the artist, originality that is not accidental but mentally pre-arranged. Stradivarian style but slightly more vertical, with reminiscences of Nicolas Gagliano. Fairly flattish arching, splendidly accomplished. Very wide edging, slightly raised, thus giving a noticeable groove right round the body. Carefully manipulated purfling. Gracefully posed sound-holes, ideally positioned. Widish grain wood for belly, rather plain material (of unusual grain, impossible to properly describe) for back. Well cut scroll, rather flattened in the neighbourhood of the volute, unusually large eye, attractive refinement in the grooving, the bottom cutting on the outside edge rather narrower in comparison with the upper. Altogether an agreeable originality. Yellow-brown varnish, occasionally a lighter yellow - both excellent. Clear and brilliant tone, not full, but rather penetrating and unfortunately somewhat lacking the customaty Italian sweetness. Also known for cleverly constructed guitars and harps. 90, 1960.
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Girolamo Trucco
Fabbricante di
Chitarre, Arpe e Violini
in Savona. 1840
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TRUEMAN, RICHARD
Worked at Bath 1820-1830. Pretty design based on the Antonius and Hieronymus Amati model with a little affectation of manner not inseparalle from English amateurs. Tonal quality soothing and sweet. Only seven specimens came from this conscientious worker.
TRUETSCHLER & PRAGER, INC.
Established at South Wabash Avenue, Chicago, U.S.A. F. R. Truetschler, Master Violin maker, internationally known, Eric Prager, Violin expert, and Wolfgang B. Ritter, master Violin maker from Mittenwald, Germany. Repairers, dealers and valuers of old and new instruments.
TRUPPEL, BLA
Worked at Novi Sad (Yugoslavia) 1925. Principally tamburitzas, also a few violins and cellos.
TRUSARDI, PAOLO
Worked at Arqua Polesine (Rovigo) 1905-1920.
TRUSIEWICZ, JEAN M.
Worked at New York, died at Los Angeles, 1939.
TRTZSCHLER (TRUETSCHLER), FRITZ
Born at Markneukirchen 1901. Worked for Mckel (Berlin), and for Wm. Lewis & Son (Chicago) 1928. Made 200 violins up to year 1942, generally Strad modelling; golden-yellow varnish. First class work.
TRTZSCHLER, PAUL
Born 1871. Worked at Markneukirchen and Berlin. Died 1946. Specialist in 5-string double-basses.
TSCHERNOV, DMITRI CONSTANTINOVITCH
Professor of Metallurgy at St. Petersburg 1907-1912. Amateur who enthusiastically ventured into the art of violin construction, and came through its mazes quite triumphantly. Initative ideas of the Stradivarian outline well conceived. Thicknesses of front and back calculated on more original lines. Instruments highly favoured by amateur chamber-players in Russia.
TSCHIRHAT, F.
Worked at Detroit (U.S.A.), 1930.
TUA, SILVIO
Born at Turin, 1894. Pupil of Radrizzani (Milan). Worked at Vevey. Established at Nice, 1929. Guarnerian modelling, and one quite individualistic, praiseworthy workmanship especially the scroll, reddish-orange varnish radiantly showing up the beautiful wood. Assisted by son Serge (born 1927). 150, 1960.
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Liuteria Italiana
Silvio Tua
di Tarino.
Fecit 19 . . Nice
No. . .
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TUBBS, A. E.
Born in London, 1885. Established at Indianapolis, 1920. Excellent productivity of violins of various models. Maker of pure oil varnish, brown, red, yellow and golden amber,
TUBBS, ALFRED
Bow-maker. Son of James Tubbs. Died 1911. Bows of the rarest excellence. Their durability, elasticity, and beauty give every satisfaction to the most exacting soloist. 25, 1960.
TUBBS, EDWARD
Bow-maker. Born in London, 1832. Went to New York, 1908. Died 1922.
TUBBS, JAMES
Born in London, 1835. Son of William. Worked for father until 1860. Owned a small shop in Church Street, Soho, 1861. Moved to High Street, Marylebone, 1864. Employed by William Ebsworth Hill during these years, and specimens of his talent, bearing Hills name, are easily recognisable, and artists never have hesitated or showed the slightest reluctance to embark on the expenditure of several guineas for one. Greatly patronised by the renowned quartettists at the Monday Popular Concerts, London, from 1865. Extended his reputation by splendid productivity. Engaged finer premises in King Street, Soho. Settled in Wardour Street, 1872. Lived some years also at Staines. Returned to Wardour Street, 1911. Died 1921. Received the special appointment of bow maker to the Duke of Edinburgh. It is impossible for any person who appreciates a fine bow, not to hail with unalloyed delight any of the productions of James Tubbs - valuable accessions to the realms of famous French examples. Intimately acquainted with the minutiae of perfect balance, familiar with the diversified style of celebrated predecessors, trained by long study of all the laws, wisely assimilated suggestions from various violinists, brought a refined and matured tact in seizing all the bearings couched under strength and elasticity, imbued with a sincere love of artistry and a profound reverence for its dictates, and withal, endowed with a natural gift of manipulative skill. Possessed every qualification peculiarly fitting him to produce everything replete with perfection. This champion, completely disciplined, stepped forward to challenge the opinion that French bows were the only bows worthy of artists acceptance, and, he won the day on this field he had entered. To say that he was the equal of Tourte, Peccatte, and Voirin, is not a wild and extravagant hypothesis. Artists have rendered it a matter of imperious necessity to possess one or more of Tubbs bows, and take pride in triumphantly proclaiming the fact. Take any specimen, subject it to minute examination, test it in strength and lightness, and you will soon be aware of owning a real treasure, something to stimulate fine playing. Turned out about ten bows a month. Best period 1875-1895. Contour of heads rather varied but always very beautiful. Magnificent sweep of stick, generally round and of dark pernambuco, but very occasionally of lighter colour. Wilhelmj owned a gold mounted presentation bow bearing the inscription To Wilhelmj, from the Orchestra of the Wagner Festival, London, 1877. The fame of Tubbs has led to the great multiplication of copies stamped with his name by the trade, particularly the German exporters. 30 to 45, 1960.
TUBBS, WILLIAM
Born in London, 1814. Father of James. Achieved first-class results whilst at Thomas Dodds. Set up for himself in Vauxhall Walk, and later in Coventry Street. Died 1878. Efficiently consummated his zeal for artistic productivity, and rose above several of contemporary continental rivals. Many of his excellent bows made for dealers and stamped accordingly. 20, 1960.
TUBBS, THOMAS
Father of William. Worked in London. Skilful imitator of the John Dodd bows. Completely splendid, an opinion generally entertained and justly grounded. 20, 1960.
THR, JOSEPH
Born 1807 at Vienna. Died 1885. Third grade instruments.
TURCKE-BEBI, W.
Born at Bologna, 1888. Architect. Pupil of Fiorini. Worked at Salenstein (Argovie), 1914; and at Schaan (Lichtenstein), 1947. Produced 100 violins, violas and cellos. Generally Guarnerian modelling, arching of beautiful graduation, no constraint about sound-holes, scroll splendidly circled to the boss. Reddish or brown varnish.
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W. Turcke-Bebi Salenstein
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Later labels branded with Lichtenstein Coat-of-Arms; initials, and cross.
TURNBULL, WILLIAM
Worked at Dundee, 1876-1889. Scottish conceptions of a Guarnerius. Fairly tasteful workmanship and pleasant varnish.
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Made by W. Turnbull
Dundee, 1881
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TURNER, JOHN
Dealer and importer in London. Born 1790. Died 1862. Rented a shop in Waterloo Road and employed workmen. Turner stamped under button. Often seen on instruments of common class, cometimes of continental make, frequently with lion heads and other fanciful contortions. Various grades, and varnishes.
TURNER, NORMAN
Born 1876. Carpenter. Resident at Nassau (New York). Self taught. Made 50 instruments up to year 1940. Strad modelling but waist slightly broader - transparent yellow-brown oil varnish splendidly applied. Very satisfactory tone. A maker who deserves recognition.
TURNER, WILLIAM
Worked in London, 1650. Made very attractive viols, beautiful in workmanship, wood and varnish. All writers have failed to chronicle existence of violins by this Turner, but we have seen two examples purporting to come from his hands, guaranteed by a reputable firm of connoisseurs. On the other hand the labels may have been taken out of his viols and placed within nondescript violins. Both specimens were, however, of superb design and smooth workmanship, no matter who made them. Small Amati modelling, lustrous golden-brown varnish, and an appealing tone.
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William Turner at ye
hand and crown in
gravelle lane neere
Aldgate, London, 1650
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TURREL, HOMER BASSET
Born at Medora, 1868. Worked with Scott Herman at Washington. Splendid modelling and arching, either Stradivarian or Guarnerian. Most excellent workmanship especially the evenly developed roll at the edge which throws the outline into relief. Usually red-brown oil varnish over a golden yellow ground. Produced 300 up to year 1927. Many have a remarkably resonant tone.
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Homer B. Turrell
Me-do-ra Hand Made Violins.
Expert Repairing.
Strings - Accessories.
Medora, Indiana.
No. . . . . . 19 . .
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TURY, GYULA
Born at Budapest, 1866. Well-known painter. Produced several instruments of original design. Workmanship superb in every detail.
TWEEDALE, CHARLES L.
Vicar of Weston (Wharfedale, Yorkshire), 1900-1940. Claimed to have rediscovered the tone secrets and varnish of Stradivari. Guaranteed to produce instruments identical with, and equal to those of the Cremonese. Received the most flattering testimonials from amateurs and professionals. Ardent spiritualist. Author of a voluminous book entitled News from the next world, published by the Spiritualist Press, London, 1940, in which he relates the several manifestations he received from Stradivari, who unfolded to him the secrets of violin construction and varnish. Most, entertaining from beginning to end, whether one be a spiritualist or not. Produced a huge variety - Stradivarian, Guarnerian, and Maggini modelling. Conscientious experience brought to bear on all of them, some being better than others, but none can be truthfully judged by any unfavourable epithet. Also built many of original conception, large and bold modelling, indicating masculinity rather than gracefulness. Unique scrolls fortunately not characterised by erratic or fanatic originality. Sound-holes too have received much sensible thought. Fine oil varnish, soft, very transparent, and generally applied with subtlety though not always finished off very smoothly. Always handsome wood. Workmanship well carried out. Semi-luscious sweet tone rather than powerful, plays very easily equal and clear. Large imposing label with photograph of maker in centre, and designs in the four corners, also branded Tweedale. Some instruments endowed with fancy names such as Atlanta. 1910; Gelasius, 1912; Bianca, 1914.
TWEMLOW, S. P.
Amateur. Resident at Sandbach (Cheshire), 1925. Good modelling and very satisfactory tone.
TYSON, HERBERT WILLIAM
Born 1878. Resident at Louth (Lincolnshire). Stradivarian outline, Guarnerian sound-holes, edges slightly turned up, golden-brown or chestnut-brown oil varnish.
TYE, J.
Worked around 1850. Average style and workmanship though sound-holes sometimes approach the grotesque.
TYWERSUS
Worked at Nancy and Mirecourt. Maker to the Prince of Lorraine during the first half of 16th century. First rate maker of lutes, viols, and violins, productions evincing both imagination and judgement. Violins similar to those of Andrea Amati, and particularly excite the admiration of collectors.