ACHNER, JOSEPH
Worked at Mittenwald, 1724-1760. Somewhat more prominent than contemporaries in that town. For some years inscribed his name as Aachner (derived from the Achen, a tributary of the River Iser running through Mittenwald).
Belonged to those few Bavarian pioneers in the transition from the Stainer to the Cremona model. Rather refined workmanship, but weak scroll. Sound-holes follow the Klotz type; top and bottom curves not nicely rounded, but with fairly graceful stem. Varnish has a striking resemblance to the Italian golden-brown.
-----------------------------------
Joseph Achner, Geigen-
macher in Mittenwald, 1760
-----------------------------------
--------------------------
Joseph Achner
fecit Cremona 1726
--------------------------
Second label is a forgery, or he purposely deceived clients by anti-dating the instruments as made at Cremona.

ACHNER, MICHAEL
Worked at Wallgau near Mittenwald, 1761-1770. Brother of Joseph and Philip.
Long model of unattractive outline. Arching very high and decidedly ugly. Edges very narrow. Waist curves too long for harmony of design. Scroll inoffensively ordinary in most instances. Occasionally a fancy head may be seen. Purfling not up to an artistic standard. Well-seasoned material of very thin fibre for table, and small flame maple for back. Brownish yellow varnish of a noticeably indifferent quality. Dirty-looking structures, compelling avoidance of such defective workmanship.
Mostly all specimens available are cracked in many places and the varnish settled in streaks. Dull tone on the lower strings, nasal on the higher. Two specimens respectively dated 1761 and 1764 have been treated to better workmanship - the former having an orange-brown varnish, the second being less arched and with dark-yellow varnish.
--------------------------------------
Michael Achner Geigenmacher
in Wallgau, anno 1764
--------------------------------------
(German lettering)

ACHNER, PHILIP
Worked at Mittenwald, 1770-1798. Model a reasonably accurate imitation of the Klotz School. Body-length 36 cm. sometimes slightly less. Excellent wood, often prettily marked. Varnish of that brownish tint so typical of all the Mittenwald makers. Tone, though sometimes of appealing sweet quality, often dull, and never very penetrating.
Made some violas, modelling not very attractive, width seemingly overdone in proportion to length. Workmanship fails in neatness when viewed critically. Tone rather unpleasant, and nasal on the higher notes.
-----------------------------
Philip Achner in Mitten
wald an der Iser. 1799
-----------------------------
(Sometimes written)
Some labels dated as early as 1703. Possibly there were two makers of the same Christian name. More probably this one purposely early-dated his productions. Also inscribed his name as ‘AACHNER’.

ACHNER, THOMAS
Worked at Mittenwald, 1789. Style, varnish and workmanship similar to that of Joseph and Philip.

ACOULON, ALFRED (père)
Partner in the firm of Thibouville-Lamy at Mirecourt since 1914. Worked in Paris, 1889 and made his first exhibits that year. Chevalier of the Legion of Honour, 1900. Won gold medals at the Paris and Brussels Exhibitions, 1900 and 1910.
Stradivarian and Guarnerian modelling, the latter perhaps having the greater attractiveness. Entirely hand-made, beautiful outline and arching. Exquisitely neat edges, volute of the scroll equally well finished. Handsomest and finest wood. Grandly proportioned and with scientifically proved thicknesses, resulting in a tonal quality particularly sonorous and brilliant. Medium reddish-orange shade of special transparent oil varnish.
’Cellos of Stradivarian type.
---------------
A. Acoulon
No. -
Anno. 1908
---------------
(Name in flourishing penmanship).
Also bows of finest Pernambuco wood, octagonal sticks generally. Stamped ‘A. Acoulon, Paris’.

ACOULON (fils)
Carried on the tradition of the Thibouville-Lamy firm at Mirecourt 1913-1930.

ACTON, WILLIAM JOHN
Born at Woolwich (London), 1848. Son of a violin-maker. Took up the profession of violin construction, 1870. A Gasparo-da-Salò modelled Viola was the first of his creations, and the maker, though openly avowing the immature workmanship, considered he had never realised a better tone from his subsequent efforts. Worked at Woolwich until 1898, then removed to Forest Gate, East London. Died 1931. Made every instrument without assistance from workmen.
Violins previous to 1890 have Guarnerian traits. Since then he rather favoured a model (with some originality) approximately Stradivarian of the later period, splendidly conceived in its large proportions; and a few following the smaller model of a Strad. (dated 1700) which belonged to the Duke of Edinburgh.
Modelling of original design perhaps not what it ought to be from the hand of a highly talented craftsman, nevertheless it is a real creation far removed from anything ordinary. Body-length 14-1/8 inches; upper bouts 6-3/4 inches, middle 4-3/4 inches, lower 8-1/2 inches. Very flat arching rising less than half-an-inch. Attractive looking waist-curves, length 3-1/4 inches. No weak point in the cutting of the accurately placed sound-holes, length 3 inches. Fascinating scroll in its boldness and perfect sweep of the volute. The whole certainly well individualised. Slight irregularity of the purfling, a fault we are surprised to see. Depth of ribs at the top, 1-1/8 inches, bottom 1-1/4 inches. Amber oil varnish of splendid appearance when the present shine has worn off. All inside work carefully attended to; material always well chosen. Tone compares very favourably indeed with any other productions of modern times. Made over 600 stringed instruments.
---------------------
William J. Acton
St. Mary Street,
Woolwich, 1889
---------------------
----------------------------------
William John Acton
Maker
Forest Gate, London, 1906
----------------------------------
Produced about 500 bows somewhat in the Tourte style. Splendidly balanced and of the finest well-seasoned Pernambuco wood. Stamped ‘W. Acton’.

ADAM
Worked at Caen (France). Originated from Mirecourt. Died 1782. Pursued the somewhat uncultivated path of the third-rate worker in modelling and varnishing.

ADAM
Born at Mirecourt, 1823. Worked and died there, 1869. Known as ‘Grandadam’. Pupil of his father Jean Dominique, whom he ultimately surpassed in bow-making. Branded ‘Adam’.

ADAM, G. CHRISTIAN
Born at Halle (Germany), 1835. Established at Berlin, 1860. Died 1888. Conscientious maker but did not fully mature his powers. Instruments lack that artistic repose which maturity brings, though the outline is neatly planned. Slight bulge in the arching. Sound-holes only moderately graceful because of the unnaturalness of the slant. Not assiduously observant or careful in the bold carving of the scroll, and invariably made the ‘eyes’ too prominent. Also used too much material altogether, consequently a thick dull tone. Yellow-brown varnish of a light tint, very hard and opaque.
-----------------------------------------
Zu Ton verholfen G. Chr. Adam
Berlin 1883 G+Ch
-----------------------------------------
(some written almost illegibly).

ADAM, JEAN
Born at Mirecourt. First a violin maker working temporarily at Valence-on-the-Rhone. Returned to Mirecourt 1790 and devoted himself solely to bow-making until death, 1820. His few violins have slight commercial value. His bows (largely made for the trade) are not very skilfully finished or balanced.

ADAM, JEAN DOMINIQUE
Born at Mirecourt, 1795. Son and pupil of Jean. Worked at Mirecourt. Died 1864. Had all the virtues of the enthusiastic worker, and was thoroughly conscientious. Made many scores of bows for various French dealers, which (being invariably made to a trade order and possibly hurried with the consequent scampering of delicacy), lack that subtle gradation so essential in artist bows, but occasionally had inspirations of greater price and exercised more care, thus producing a few rather fine bows stamped with his own name. In choosing from these better class ones we prefer the examples having octagonal sticks (medium red), for they seem stronger and more elastic than the round. Some stamped ‘Gene Dominique Adam’. Several German firms of the present day stamp some of their productions with the name ‘ADAM’.

AERTS, MARCEL
Born 1910. Son and pupil of Rene. Also studied with Jeandat (Mirecourt) and Laurent (Brussels). Went with father to California and assisted him in the production of many instruments. After father’s death 1942, he moved to Long Beach (California). Fine copies of the classical Italian and French models. Label quite similar to that used by father.

AERTS, RENÉ
Born at Brussels 1883. He served his apprenticeship at Mirecourt, afterwards working in Germany and England. He started his own workshop in Brussels in 1921 where he took Darche’s place as luthier to the Conservatoire Royale. In 1932 he left Belgium with his son Marcel and settled in Los Angeles, U.S.A. where he died of heart trouble in 1942. He was a first-class maker whose instruments followed the models of the old masters. His varnish simulated the deep red of Guadagnini or the golden yellow of Gagliani. The famous ‘Pro Arte’ quartet used instruments made by this estimable maker and he received testimonials from such artistes as Ysaye - himself a Belgian - Jacques Thibout, Fritz Kreisler and Mischa Elman, among others. His violas are much sought after.

AIRETON, EDMUND
Born 1727. Worked in Piccadilly, London. Died 1807.
Model generally belongs to the Amati and Stainer style. Also made a few instruments on the Stradivarius pattern, but are not regarded as the best of his work. Workmanship of the former carefully done and rather refined. Neat purfling, and well-finished sound-holes. Scroll not so good. Lustreless pale-yellow spirit varnish. Moderately powerful tone of fair quality.
Made violins, violas and ’cellos. Some specimens labelled ‘Edmund Aireton Junr.’ Occasionally inscribed his name as ‘Ayreton’. Made many cheaper examples for Norris and Barnes and few instruments bear his own label.
Altogether retains a reasonably conspicuous place in the English School. An Edmund Aireton (possibly father of the above) worked for Peter Wamsley in 1735.

ALBANESI, SEBASTIANO
Worked at Cremona, 1720-1744. Pupil of Bergonzi.
These scarce instruments have a needle-like touch of detail. Nothing could exceed the daintiness of the model, yet there is a certain beautifully proportioned breadth and a nicely full arching, arriving at a happy medium between the high and the flat - a few specimens being noticeably flatter at the back than at the front.
Splendidly carved scroll, perfectly balanced - deserving all eloquence - throat shaped according to the older Italian style, distinctly different from that of a Stradivarius. Well-marked edging of the purfling shows that he had a complete comprehension of neatness. Bergonzi type sound-holes symmetrical to the whole structure. Edges, though rather prominent, are governed by artistic perception of harmonious design. Magnificently fine-grain pine for the table; and ideally figured maple for the back - both subjecting us to the temptation of exaggerated praise. Lovely varnish of Bergonzi-brown to amber.
After feasting eyes on so much finished workmanship keen expectations of a fine tone are aroused, and here we meet with no disappointment whatsoever, for it is very, very rich, rather powerfully full, and of magnificently penetrating quality.
His work has not been blazoned by many connoisseurs. Violinists, in their search for valuable Italian instruments, frequently overlook the creations of the lesser-known makers. This furnishes a reason for our desire to prominently record the conscientious, steady, unwearied, and enthusiastic labour of Albanesi, who has left to us some of the finest exploits in violin-making, several specimens realising £350, 1920-25.
------------------------------------------
Sebastianus Albanesi cremonensis
Anno Domini. D.G. 1737
------------------------------------------

ALBANI, JOHANN MICHAEL
Born at Bozen, 1677. Worked at Graz. Died 1730. Son and pupil of Matthias. One of the best makers in Styria. Many specimens of his work are on the market - probably more ’cellos than violins.
Longish-looking outline, and rather high arching. Workmanship quite reasonably exact. Purfling generally farther from the edge than is usual with Styrian makers; also slightly broader. Corners less refined - in fact they are altogether clumsy-looking. Fairly wide and straight sound-holes, with graceful upper and lower curves. Usually excellent wood - backs noticeably thin, so that now they need lining and strengthening. Massive and full scroll, though perhaps suggesting heaviness; but the fancy heads (which he favoured) are most beautifully worked. Generally yellow varnish, but a few instruments have a rich reddish-brown of good thick quality almost Italian in appearance. The ’cellos are always of this colour. Tone not brilliant, but responsive and of moderate power.
---------------------
Michael Albanus
me fecit Graecy
Ao. 1723
---------------------
(Copperplate; largish lettering; Graz Arms in centre)

ALBANI, JOSEPH (1)
Born at Bozen, 1680. Son of Matthias (2). Worked at his birthplace. Died 1722. Little-known instruments, dating from 1704, cannot be supported by praise from any discriminating expert. Workmanship without elaborate finish. Outline not of artistic proportions or curves. Neither is the arching sutficiently graded to be pleasing. No striking or ennobling feature about the scroll. Varnish, a deep red of soft hue, of very good transparency. Tone rather mellow though deficient in penetrating force.
------------------------------------
Josephus filius Matth. Albani
me fecit, Bulsani in Tyroli
Anno. 1719
------------------------------------
Several specimens bear his fathcr’s label.

ALBANI, JOSEPH (2)
Worked at Halberstadt (Germany).
Klotz-like outline nicely in accordance with artistry, but with slightly flatter arching. Exceptionally good varnish of not too wide a departure from the Cremonese. Warm and moderately strong tonal quality.
----------------------------------
Joseph Albani
Geigenmacher im Rathaus
Halberstadt, 1762
----------------------------------
(Written in German characters).

ALBANI, JOSEPH (3)
Born at Rome, 1684. Son of Matthias (2). Worked at Milan. Died 1718. Amatese outline fairly well adhered to - arching not carried too high - small sound-holes - timid scroll, occasionally golden-yellow varnish, more often a dullish brown.
-----------------------------
Guiseppe Albani
in Contrada de Milano
Anno 1715
----------------------------
Marco Anzoletti (eminent professor at the Milan Conservatorio) played on one which formerly belonged to his father Joseph of Bolzano.

ALBANI, JOSEPH ANTON
Born at Bozen 1730. Died 1771. Son of the youngest stepbrother of Matthias. Not ascertained to whom he was indebted for initiatory instruction. Taken into business (according to family records) by Joseph (1), and subsequently inherited successorship. Also retained the label of his predecessor.

ALBANI, MATHIAS (1)
Born 1621. Worked at Bozen. Died 1673. Prominent name in the Tyrolese school. High and rather tubby model of Stainer characteristics - often heavy-looking and unprepossessing. Generally assumed he had lessons from that maker.
Wood invariably well-marked; sometimes curly maple, rather plain in centre, but showing pretty grain at the edges. Reddish-brown varnish, occasionally deepred which is apt to chip off. Scrolls sometimes replaced by dragon-heads and other fantastic figures. Sound-holes unusually wide.
Fairly powerful tone but not of the finest quality, the first string being rather brilliant but hard, the third and fourth obviously nasal, and the second throughout annoyingly small. Some labelled as made by Stainer.
-----------------------------
Mathias Albano
in Tiroli. Bulsani. 1643
-----------------------------
--------------------------
Mathias Albani fecit
Bulsani. Tyrol. 1651
--------------------------
-----------------------------
Matthias Albanus fecit
in Tyrol. Bulsani. 1654
-----------------------------
------------------------
Matthias Albano
fecit in Tiroli. 1651
------------------------
----------------------
Matthias Albani
in Bulsani. Tyrol.
fecit, anno. 16 -
----------------------
(Some in small characters; others larger).

ALBANI, MATHIAS (2)
Born 1650. Son and pupil of the preceding. After some years in his father’s workshop he travelled to Cremona to receive instruction from (and subsequently worked for) Amati. Later established a business at Rome but eventually returned to Bozen. Died 1715.
The high model of his early instruments suggests the influence of his father, but the later ones show but faint marks of that tutorlage. These invariably well adhere to the Amati of medium high type. Certainly the whole contour is more Italian than Tyrolese.
Beautifully shaded orange-red varnish (sometimes). Wood frequently of beautiftil figure, often fine-grain top, and occasionally one-piece back. Unequal workmanship, sometimes showing remarkably fine finish (which has now and then been mistaken for Cremonese work) yet at other times deserving only of faint praise. Rather even tone, and of fairly rich quality, but not absolutely captivating.
Connoisseurs have always had a high opinion of these instruments, particularly those of the flatter model. Specimens by no means scarce, and dealers are seldom without a few for sale. Many forgeries in circulation.
-------------------------
Mattio Albano
fece in Rome. 1684
-------------------------
------------------------
Mattio Alban. fecit
Botzen. 1700
------------------------
-----------------------
Mattio Alban fecit
Bolzan. 1702
-----------------------
-----------------------
Mattiu Alban fecit
Bolzan. 1705
-----------------------
---------------------------------
Matthias Albanus me fecit
Bulsani in Tyroli. 1706
---------------------------------
(Some, a few only, written).

ALBANI, MICHELE
Worked at Palermo, 17-
Only the vaguest information of him has been ascertained. Possibly a son of Paolo. Surname has caused him to be identified with Michael at Graz, but each is a descendant of an entirely different family.

ALBANI, NICOLA
Worked at Mantua and Milan, 1753-1776.
Fine broad contour with splendidly flattish arching. Excellent workmanship generally. Very attractive orange or old-gold varnish. Wood invariably of even grain for the top, but that for the back is not always nicely marked, and often of one piece. Rather full tone of a fairly rich quality. Excellent instruments for the better class of orchestral players.
------------------------
Nicolaus Albani
fecit Mantua. 1763
------------------------
------------------------
Nicolaus Albani
fatte Milano. 1770
------------------------
(Written)

ALBANI, PAOLO
Worked at Palermo, Rome and Cremona, 1633-1680. Pupil of Amati. Large pattern instruments. Body length - nicely varnished in a red-rose shade. Splendid workmanship. Instruments much sought after.
Violas.
---------------------
Signor Albani
inPalermo. 1638
---------------------

ALBERT, CHARLES FRANCIS
Born at Freiburg (Baden), 1842. Son of John. Went to New York, 1865. Later removed to Philadelphia. Died 1908.
Regarded as a fine repairer, and finally eulogised as one of the best of American makers. Respected by all professional and business men for his reliability of opinion and commercial honesty. Even after retirement violinists and connoisseurs insistently consulted him.
Copied the larger models of Stradivarius and Guarnerius. Frequently used old American wood.
----------------------
Charles F. Albert
New York. 1878
----------------------
----------------------
Charles F. Albert
Philadelphia
fecit Anno C.J.A.
18-
----------------------
(The C in Charles very fancifully illumined, and the wording surrounded with designs of the various medals and honours he gained. C.J.A. also gracefully scrolled.)
Up to 1871 he autographed his instruments ‘made by C.F. Albert’. Later he used an oval brand worded ‘C.F. Albert, Philade’.
Made all sorts of ‘helps’ for violinists. Invented a machine for wearing strings Became world famous with his ‘Albert G-String’ (triple-wounded).
Formulated a special process for making rosin. Brought out a square string guage. Also a chin rest; and finally a mute violin for practising purposes.

ALBERT, CHARLES F. (Junr.)
Son and pupil of the preceding. Born 1869. Worked at Philadelphia. Carried on his father’s business, and used his second label from 1891. Died 1916.

ALBERT, JOHN
Born in Baden. Original a lawyer, but made instruments merely as a hobby. Went to America, 1848, and soon established an excellent professional reputation. Worked in New York and Philadelphia. Died 1887.
Produced quite a fair number of instruments of the neatest possible workmanship, but never succeeded in arriving at a really fine tone. Generally favoured the smaller model. Brown varnish.

ALBERT, J. J.
Worked at Philadelphia, 1926.

ALBERTI, FERDINANDO
Worked in Milan, 1735-1760.
Few instruments known. Model has a strong resemblance to that of a Grancino of medium arching. Carelessly and irregularly shaped scroll. Bright light yellow varnish, of fair quality, showing up the frequently good-figured wood. Occasionally a rich red-brown varnish on his best instruments. Workmanship far from perfection. Tone lacks real sonority but has considerable power.
---------------------------------------------
Ferdinando Alberti
in Contrada Larga di Milano al
Segno della Corona. F. l’anno. 1737
---------------------------------------------
------------------------------------------
Ferdinando Alberti fece in Milano
nella Contrada del Pesce al Segno
della Corona. Ao. 1745
------------------------------------------
A third label has the same wording as No. 2, except ‘nell ’anno’ instead of Ao.

ALDRIC, JEAN FRANCOIS
Worked in Paris, 1788-1843.
These instruments, of which character is allied to a technical mastery, will occupy a front place in the honoured list of French makers to be recorded in the future history of the art.
The model usually related to the thesis set up by Stradivari, the arching may be said to form a congeric link to that maker, but the general appearance seems bolder, though without the heaviness invariably accompanying it - a model deserving the highest approval - truly excellent in elegance and proportion, and quite surprising in the cunning regard for the harmonious.
Purfling of the same conveyance towards one focus, that of unity of design. Ribs of full depth. Grain of wood used for top is not infrequently irregular in width, and doubtless to some it may appear to be the result of carelessness in selecting fine material. His attention seems to have been steadily fixed on the great central truth of rich tone to which he brought every contingent of thought, and being aware that many fine and even-grained French instruments were then rather hard in tone, he sensibly tried to find a means of reducing this hardness. And he conjectured rightly for some of his instruments resemble the Italian quality of tone to an astounding degree.
Massive-looking scrolls denoting a vigilant attendance on fine design, and earnest regard for unity. Prettily cut sound-holes more slightly raised than the Stradivarian. Varnish generally dark red, occasionally deep golden yellow, sometimes rich in appearance; but also, unfortunately, spiritless and common-looking, as though ill-prepared. But this applies more to the few specimens of a semi-Guarnerius model on which he put a rather lighter orange-brown.
Specimens occasionally re-labelled and disposed of as the work of Nicolas Lupot. Some instruments made with American wood, but not satisfactory in richness of tone.
’Cellos much sought after.
---------------------------
Fait par Aldric luthier
rue de Arcis, 16-
Paris, 1792
--------------------------
------------------------------
Aldric Luthier rue
de Bussi, No. 30, 1807
------------------------------
(Written; indifferent caligraphy)
----------------------------------------------------
Rue de Bussy No. 30. Faub. St.-Germain
près la rue de Seine à Paris
Aldric Luthier
fait Violon, Alto, Violoncello, et Guitare
----------------------------------------------------
(Decorative border)
----------------------------------------------------
Rue de Seine No. 71. près celle du Bussy
Aldric
Luthier à Paris an 1820
----------------------------------------------------

ALDRIC, NICOLAS
Well-built French instruments replete with the usual attractiveness of the commercial varieties. Largely imported by Beare and Son of London, 1925.
Violins of darkish brown varnish - Strad models. Comfortably sized violas of bright red varnish. ’Cellos of dark reddish brown varnish.
------------------------------------
modele de
Rue de la Gare, No. 71
Nicolas Aldric, Père.
B.S. Luthier à Nantes. an...
L.
------------------------------------

ALETZIE, PAUL
Worked at Venice and Munich, 1698-1736.
Maker to the Bavarian Court at Munich. Probably came from Fussen or Vils.
Elegant violins exhibiting workmanship that sets up a standard which might with advantage be emulated by young aspirants. Some experts say there is Italian suggestion, but only of the slightest, and is more distinctively of Bavarian style.
Invariably of large pattern, but designed with elegant nicety, admirable grandeur of form, and vigour combined with classicism. All the highest excellencies of delightful grading in the arching, and here is perhaps his individual characteristics can be most truly estimated.
Scrolls do not stand beyond other makers in the possession of qualities of original invention or gracefulness of beauty, but there is a kind of spiritual diversity and a depth of conceptive power quite unique. Small sound-holes, but uniformly constant to harmonious design, and have an almost unconscious originality. Wood for the deck often beautifully grained; and material for the back shows judgment of an acute purchaser. Rather light-brown varnish often poor and hard, much in want of subtle gradation. Others varnished transparent yellow of more elastic texture, and a dark-brown also of excellent quality.
Tone not idyllic, but has that voice of tenderness and a depth of sympathy together with considerable resistance, which has and will insure to its originator an ever-widening fame in the far-off future.
Made violins, violas, ’cellos, basses, and viol d’amores. Best work is displayed on his violas and ’cellos. Earliest date, 1698, latest 1736.
-------------------------
Paulus Alletsee Hof
Lauten und Geigen
macher in Munichen
1730
-------------------------
(Labels in German and other fanciful lettering)
---------------------------
Paulus Aletssee
fecit Monachij, 1714
---------------------------
(large lettering)
------------------------
Paulus Alletssee. f.
Lauten und Geigen
macher i Munchen
1724
------------------------
----------------------------
Paolo Aletzie Monaco
1730
----------------------------
Some viol-d’amores especially magnificent. Body of festooned contour. Each of the ribs presents five undulations. Sound-holes lancet-shaped. Table ornamented with a beautiful ‘rosace’ terminating at the end of the finger-board. Two rows of pegs superposed and separated in the mortise by a membrane of wood - one row for the seven strings set in motion with the bow, and the other, for the eleven sympathetic strings - the whole grandly set off by an ingeniously sculptured head.

ALLEN, SAMUEL
Born in Cornwall, 1858. Employed by Hill & Sons (London) for several years. Established his own business, 1891.
Specialist in bow-making - specimens very similar to the Dodd - completely artistic and reliable - deserve to be more sought for - some beautifully mounted.
Also made a few violins.

ALLETSEE
see ALETZIE.

ALTAVILLA, ARMANDO
Worked at Naples, 1923.

ALVANI, FRANCESCO
Worked at Cremona, 1840-1850. Excellent outline - equal excellence in tonal quality - fairly luxuriant reddish-brown varnish - well chosen woods.
--------------------------
Francesco Alvani in
Cremona Anno 1843
--------------------------

ALVANI, GAETANO
Worked at Turin, 1870-1880.
Skilful imitations of the Stradivarius and Guarnerius. Fine woods - red and other shades of varnish.
-------------------------------
Gaetano Alvani
Liutaro in Torino
Fecit Anno Domini 1875
No. 147
-------------------------------

AMAN, GEORG
Born at Vils (Bavaria), 1671. Worked at Augsburg. Died 1734.
Obeyed certain well-defined rules, and knew the just limits within which he could move in his delineations. Knew enough of the geometry and the technicality of workmanship to enable him to steer clear of any mistakes.
Large model generally partaking of the strongly-marked varieties of the Amati school. Arching varies according to model, but never high. Varnish, though nothing out of the ordinary, nevertheless effectively preserves an allied character to the type reproduced, colour varying from bright red to dark brown. Scrolls usually of pear-tree (also the neck) and frequently carved very decoratively. Bellywood of well-chosen even-grained spruce; backs usually of one piece.
Not a large tone, but has an attractive quality.
-----------------------------
Georg Aman Lauten-
und Geigen-Macher, in
Augsburg, 1713
-----------------------------
(Sometimes in German lettering).
Some instruments dated as late as 1772, but not genuine specimens.

AMAN, MATTHIAS
Worked at Augsburg, 1720-1765. Also favoured the large model, general characteristics of workmanship minutely resembles that of Georg. Better known for viola and basses, rarely made a violin.
---------------------------------
Matthias Aman
Lauten und Geigenmacher
in Augsburg. 1764
---------------------------------

AMATI, ANDREA
Born at Cremona, 1525. Died 1611. Some authorities say he died in 1583. Descendent of an ancient decurional family dating from 1097. Founder of the Cremonese school. Originally a maker of viols and rebecs. Did not make violins until about 1560. Tradition has it that he assisted Gasparo da Salo. Probably true inasmuch as his style was founded on the Brescian school, though the size and proportions differ greatly.
Perceived that delicacy in detail would enhance his violins. Wisely sought to avoid the bigness of the violin of that period, but rather went to extremes in doing so. Scarcely any of the instruments are full size, and so the tone is more mellow and silvery but small, rather than brilliant, fourth string in particular being often very weak, consequently of no use to the modern performer. Interest attached to them nowadays is more antiquarian than practical.
General design altogether elegant, though not especially striking. High arching particularly towards the centre, but gradations are not unnatural. Somewhat narrow margins, but delicately finished. Exquisitely done purfling. Also a beautiful and distinct originality about the scroll, sound-holes do not escape a suspicion of stiffness for they are too broad for the size of the instrument, the top and bottom holes seeming incongruously large. Wood not consistently of good figure, but generally of strong quality. Frequently used peartree wood, and seems to have had a preference for cutting the backs in slab form. Fairly rich varnish of two kinds, a lightish brown and deep golden.
’Cellos and violas have little of really full sonority, but are of rather surpassing sweetness.
--------------------------
Andreas Amati
Cremona, fecit 1582
--------------------------
------------------------------
Andrea Amati
Cremona. M.D. LXXII
------------------------------
Instruments dated after 1584 are the work of Antonius and Hieronymus.
A book written by Count Salabue gives the details of a violin dated 1546 which belonged to the Abbe Venini of St. Ambroise at Milan - of extraordinary form for that early period, back slightly flat towards edges, table well graduated though high and without the flattish propensity, long sound-holes with upper apertures having a larger diameter than the lower, edges slightly raised, chestnut shade of varnish, and a very clear and penetrating tone.
----------------------------------
Andrea Amati Cremonensis
fecit anno 1546
----------------------------------
(written)
Appointed violin maker to the French Court during the reign of Charles IV (amateur violinist). Some historians have stated that he went to Paris and worked there; but others do not give credence to such an unlikely change of abode. More probable that the king sent one of his fiddlers to Italy to hunt up musicians and instruments, who naturally found his way to Cremona and commissioned Amati to make violins.
At any rate, there were twenty-four violins, six violas and eight ’cellos used in the band at Versailles, of magnificent workmanship, illuminated on the back with the arms of France and the motto ‘Pietato et Justitia’ (said to have been painted by Rubens), also some studded with diamonds; and they were preserved there until the Revolution.
Another one ornamented ‘Proprgnac vlostat stabito’ (‘For fight in danger, it shall stand’), golden-brown varnish, delicate and finely carved scroll rather flat on the upper part - fine purfling and close to the edge - edges of back considerably thicker than those of the front. Body length 14 inches - upper bouts 6-7/16 - lower 6-7/8 - position of sound-holes, 7-5/8 from edge of front to the notch.

AMATI, ANTONIO (1)
Eldest son of Andrea. Born 1560. Died 1649. Worked in Cremona with his brother Hieronymus. Instruments bearing his own label date from 1589. Generally there is a comfortable inclination towards medium size. Rather high modelling, but slightly flatter than that of his father’s work. Ribs seem a trifle shallow. Brescian type of sound-holes. Workmanship shows consistent and careful thought. Made small and large violins, but more of the former. Tonal quality rather mellow, but of little power and not particularly penetrating - first and second strings fairly bright, but a dull third and weak fourth.
His daughter (vaguely supposed to have become the wife of Jacob Stainer) made a large proportion of the scrolls.

AMATI, ANTONIO (2)
Son of Hieronymus.
--------------------------------
Antonius Amatus
Hieronymi filius
Nepos Cremonensis fecit
1691. A.D.
-------------------------------

AMATI, ANTONIO (1) and HIERONYMUS (1)
Brothers. Sons of Andrea. (See under their separate names).
Violins bearing their joint names are none too many but most of them have escaped ill-usage. Innumerable imitations with forged labels have continuously cropped up, but the indifferent workmanship obviously prevents the deception intended.
Genuine specimens of the highest merit in point of highly-finished craftsmanship. Essence of refinement and delicacy in all details. Pattern of early productions gives suggestions of Andrea influences in being over-arched, but the later examples agreeably reduced in height) claim to be approximate to what has since become understood as the Amatese model.
Greater proportion of instruments belong to medium-size, those of larger build comparatively few. Belly-wood always finely selected, of perfectly even vein, generally close but occasionally broad. Backs cut in various modes - whole and two-pieces - wand always of well-defined flame. Interior supports of fine-grained oak. Notwithstanding rather elevated arching, much ingenuity is shown in the delightfully graceful sloping towards the strongly marked grooving - a splendid sphericity of exterior. Daintily conceived edges, and graceful corners. Purfling of great accuracy, in perfect unison with the outline. Thicknesses of wood perfectly proportionate.
Scrolls vary considerably in contour, some seemingly anterior to the rest of the instrument, but all very skilfully handled. Sound-holes so placed as to give the regulated 13 inches length of string between bridge and nut. Also superiorily designed to those of Andrea - wood more scooped out a little round them - nice curvature harmonising with the waist, and a splendidly graduated orifice. Warmlooking maple-brown varnish on earlier specimens - later ones having a beautiful golden-orange tint with just a slight touch of red - and, being thinly laid on, grain of wood is thrown up distinctly.
Rich and sweet tonal quality but never powerful - very clear and resonant, and greatly in advance of an Andrea.
-------------------------------------------
Antonius et Hieronymus Fr. Amati
Cremonen Andrea fil F. 1584
(Name also given as ‘Amatus’).
-------------------------------------------
No ground to doubt the frequently expressed statement that they succeeded their father as makers to the French Court. While in this position they must have made instruments for many noble patrons - several examples known with richly decorated designs, purfling of tortoiseshell, and other ornamented devices.
One violin in particular has quite a historical romance attached to it. This being one of the instruments owned by Henry IV, dated 1595, and supposed to be the only violin rescued from the devastating effects of the Revolutionary attack on Versailles. Back finely decorated with the coat-of-arms of Henry IV, King of France and Navarre. Ribs bear the inscription, which translated, reads - ‘Henry IV, by grace of God, King of France and Navarre’. Inside, on the back, is another Latin inscription - ‘Made for the chapel of Henry the Fourth by Hieronymus Amati in the year 1595. Decorated by his most distinguished pupils’. Acquired by Marshal Bassompierre, in whose family it was kept for two hundred years. Eventually obtained by J. B. Cartier for the chapel of Louis XVIII of whose Academie he was principal violinist. The same delivered to Charles (Francois) Gand, the pupil of Nicolas Lupot, maker of Paris, for purposes of repair’. Bassompierre (musical enthusiast with a private orchestra) was Ambassador to the Court of Queen Elizabeth in London, and Continental countries. Possibly the instrument was presented to him by the King. Reported that Mozart played on it when commanded to appear before Queen Marie-Antoinette at Versailles. Purchased for 12,000 dollars by Lyon and Healy of Chicago, 1920.
Body length slightly over 14 inches. Upper and lower bouts of usual width. Golden-brown varnish. Handsome wood. Brilliant tonal quality rather than of especial depth.
Other well-known examples:
1591 - owned by Felipe Libon, famous pupil of Viotti and conspicuous in Parisian circles.
1615 - owned by George Haddock of Leeds, and known as the ‘Drummond’. Body length 14 inches.
1619 - owned by Harry Dykes of London, 1917. Body length 13-1/2 inches. Width of upper bouts, 6-3/16; lower 7-5/8. A most interesting specimen with handsome scroll and splendid wood.
1619 - shown at the Inventions Exhibition, London 1885. Back ornamented with a representation of the Crucifixion., and the royal arms of France.
1628 - owned by Jean Roxas of Paris, 1915. Formerly in the possession of Alard and Gand. Acquired by Wurlitzer of New York, and catalogued at 3,500 dollars, 1925. Body length 13-7/8 inches; lower bouts 8. Small shoulders. Sivori (celebrated Italian violinist and pupil of Paganini) owned one bequeathed to him by Dragonetti (world-famed double-bassist), 1846.
Viola dated 1619, owned by Captain John Audley Harvey, 1923. Body length 16-1/2 inches. Magnificent modelling with commendable low arching. Noted for its remarkably fine head.
Large sized viola dated 1620. Body length 17-3/4 inches; upper bouts 8-1/2; lower 10-7/16; depth of ribs 19/16 to 1-1/2.
Small size viola dated 1616. Body length 16-1/4; upper bouts 7-3/4; lower 9-3/4; depth of ribs 1-5/16 to 1-1/4.
Viol reduced to the proportions of a viola, dated 1619. Belongs to the Queen of England. Ornamented with three paintings on the back - on the left a figure of St. John the Baptist with the Lamb; coat-of-arms in the centre; to the right another figure nearly obliterated by usage. Inscribed round the sides with ‘Ecce Agnus Dei’ and ‘Guilia Maria Bernardi’.
’Cello dated 1612. Body length 29-1/4 inches. Very broad modelling; sound-holes positioned rather low.
’Cello dated 1673 - preserved at the Warsaw Institute. Back decorated with a hunting scene, also bearing the inscription ‘Nuda senectus’.

AMATI, DOM NICOLAUS
Worked at Bologna, 1720-1740. Priest. Not related to the Cremona family. Instruments of small pattern, satisfactory workmanship and excellent tone.
----------------------------------
D. Nicolaus Amati fecit
Bononiae Apud SS: Cosma
et Damiani. 1723
----------------------------------
-------------------------
D. Nicolaus Amati
fecit Bononiae 1737
-------------------------

AMATI, HIERONYMUS (Girolamo) (1)
(see under ANTONIO and HIERONYMUS).
Born, 1562. Died of the plague, 1630. Brother of Antonius, and worked with him until 1624. Worked alone after this date.
Made many small as well as larger patterned instruments. Early violins perhaps somewhat stiff and constrained in outline though more or less in imitation of his father’s conceptions, but have all the elements of architectural correctness, and indications of a future greatness. Later productions show increased proportions, considerable originality, and generally a greater command of hand.
Arching may seem to be a too-decided emanation of the high, but there is fine distribution of graduating principles. Corners finely worked, and create an effective appearance. Edges less over-lapped and altogether of a fascinating delicacy when contemplated with the matchless grooving. Purfling rather wide, but accurately done. Scroll discloses artistic guidance of a skilful hand, being broad on both sides of the central point. Sound-holes particularly interesting in being lesspointed and less-wide - lower and upper turns having complete harmony of contour foreshadowing those of a Nicolo Amati, although there are examples where the upper turns stand so near each other that only the breadth of the bridge intervenes.
Generally one-piece backs of prettily-figured material often slanting downwards from left to right. Golden-yellow-brown varnish thoroughly homogeneous to the nature of the wood - occasionally one of a mahogany tint. In many instances this varnish has peeled off.
Tonal quality generally of happy spontaneity but not richly full, and occasionally the notes of the second string somewhat duller than the others. Desirable instruments for quartet performances.

AMATI, HIERONYMUS (2)
Son of Nicolò. Born 1649. Died 1740. Worked at Cremona.
Instruments bearing his name are quite numerous, and the work is so varied in character as to throw a doubt whether or not he made them all. Seems to have been a dealer of rather extensive patronage, and employed several workmen who probably furnished many of the parts belonging to a violin. Notwithstanding the large number that must be in circulation, few seem to come out of obscurity, more perhaps on account of the many indifferently-made fiddles in which unscrupulous dealers have inserted his label, and sold as genuine, than from any other reason.
Close examination shows that in minute detail he materially avoided the wellknown characteristics of the other Amati; so much so that he seems not to have served his apprenticeship under his father, or if he did, they apparently quarrelled afterwards, because the father’s tools passed into the hands of Stradivari, and not to Hieronymus, as one naturally understands would be the case if perfect harmony had existed between them. But his variableness should not lead to an under-valuing estimate of some of his exceedingly fine-toned instruments as if they were things to be apologised for on the plea that they belong to the Amati family but not up to the standard set by its various members. Such a mode of thinking is dishonouring and dangerous to the powers of judgment.
Specimens of small pattern - body-length generally 13-3/8 inches - are perhaps rather straight-waisted. Sound-holes often too closely positioned to each other, though fairly graceful. Specimens of larger dimensions and flatter arching, designed with even more extended and sweeping curves than those conceived by his father. Soft and transparent varnish but less fine than that of a Nicolò.
On these better examples few defects in workmanship are observable except under very critical scrutiny. There can be no two opinions about the semi-rich tonal-quality, though its power and brilliancy may be questioned.
Produced several fine-toned ’cellos.
---------------------------
Hieronimus Amatus
fecit Cremonae, 1670
---------------------------
---------------------------------------
Hieronimus Amatus Cremonen
fecit anno salutis, sis
1697
---------------------------------------
--------------------------------
Hieronymus Amatus
Cremonen. Nicolai fil. 17-
--------------------------------
----------------------------
Hieronymus Amatus
Cremonensis an 1700
----------------------------
----------------------------
Hieronymus Amati
figlio di Niccolò Amati
Cremona 17-
----------------------------
------------------------------------------------
Revisto e crretto da me Girolamo
figlio di Niccolò Amati. Cremona 1710
------------------------------------------------

AMATI, NICOLÒ (1)
Youngest brother of Andrea. Worked at Cremona, 1568-1620.
Back and front both slightly arched. Excellent varnish, and equally good workmanship. Modelling too narrow and too short, altogether out of proportion to its thickness. Consequently tone is weak on the fourth string. Body-length - 32 or 34 cm. Reputation rests more upon double-basses.

AMATI, NICOLÒ (2)
Son of Antonio. Worked at Cremona.
-------------------------------------------------
Nicolaus Amatus, Antonii filius
ac Hyeronimi Nepos in Cremona, 1644
-------------------------------------------------

AMATI, NICOLÒ (3)
Fifth son of Hieronymus (1). Born 1596. Died 1684. Worked at Cremona. The greatest artist of this family.
Day and night he sat at his work-bench finding happiness that amply repaid him for his devotion to whole-hearted service. Work showed many triumphs of his art, gifts and letters from noblemen, and other tributes to his wondrous existence. Had great recompense when the hour came for trying a newly-finished instrument. Though only a mediocre player he had the soul to bring out the sweetest tones of his constructively-ingenious productions, and delighted friends and pupils.
The inspiring source of his early violins came from the small-pattern instruments of his father - outline and arching more or less guided by those principles. High modelling, both back and front - sharpish ridge in the centre, suddenly dropping about half-way to the sides, then going into a groove which brings out the careful working of edges and corners - the latter always slightly more elongated than those of any prototype. Narrow purfling and not particularly neat. Smallish scroll, with boss well-projecting and slender peg-box. Sound-holes more or less upright, and somewhat narrow, though none the less artistic. Inside linings rather weak, and blocks too diminutive. Varnish of a golden-brownish shade. Tonal-quality not brilliant but sweet and sympathetic.
Began to feel the impulse of originality from about 1630 - altered a little here and there, expanded some parts, reduced others, never desiring or aiming at real solidity but rather at feminine delicacy, until finally breaking away from the somewhat stilted traditional-principles of his predecessors, and conceiving the larger model subsequently epithetised as the ‘Grand-Amati’. This culminated about 1640, and, except to varying the length and bouts to correspond, was never deviated from throughout the remaining years of a long career.
Outline not only instances the assemblage of wondrous curvatures, but also fine unison of breadth and length. Three lengths - one just under 14 inches, one exactly 14, and the other slightly over - and slight variations in the width of the bouts.
Arching has the individuality of a slight reduction from his earlier period, though remaining fairly high, and having a somewhat rounded appearance from the centre to the very graceful grooving. This particular arching is more pronounced in the vicinity of the bridge, causing rather an abrupt dropping to the groove, and is said to be the original cause of the wonderful sweetness of tone so intimately associated with his instruments.
Thicknesses of a specimen dated 1648 - belly, 7/64 of an inch at centre, graduating to 5/64 at the extremes; back, 10/64 to 5/64.
Nor was he less careful with embellishing interior work by pressing into service all his refinement in fashioning the most trifling parts - everything intended to heighten the effect of feminity and its application to a peculiar tonal-quality. Edges beautifully rounded and very slightly over-lapping all artistically according with the grooving. Corners very definitely elongated with loving care and charming tracery, which peculiarity was subjected to reduction in his very latest productions. These elongated corners, supervised and touched-up to avoid inartistic exaggeration, have their corresponding sweep of curve to the centre of the upper and lower bouts, the latter sometimes quite gracefully protuberant, which seems to give a somewhat drawn-in appearance to the waist.
Early scrolls perhaps deserving of being called undignified though not void of certain elemental graces - later ones showing a development towards a kind of semi-robustness, bold without great breadth, and generally portraying nicety of judgment - of very defined outline, with a slight weakness in departing from ideal curving at the volute, but a beautiful approach to the boss in which the outline gradually merges into oblivion - widish cutting of the throat which gives the head a slight droop augmented by the weakness previously mentioned and which happens to be opposite to the throat. Lines and whorls of many of the scrolls seem to live - full of attraction, and react on the eyes like a tender spring-flower - delicacy of the whole very noticeable, yet the walls of the peg-box have been left thick for practical reasons.
Sound-holes distinctive in being set less straight than those of his predecessors, and exemplifying the intrepidity of widening the lower portion as well as giving a more outward sweep - various curves all congregated to harmonise with the waist. The higher curve appears quite small and somewhat pointed by the narrow approach to it - sometimes the one on the right has this upper turn not strictly uniform with that of the left, but at no point is there any flaw in the dexterity of his execution. Thus these sound-holes are not tame representations of mere ornament, but a beacon light for clarity of tone - and in no particular does modesty overstep. Whole contour of the instrument, when subjected to critical investigation, will be found to exhibit a magical unity of purpose - one always tending to the sunshine of ethereally-smooth tone.
Belly wood often finely close-reeded backs and ribs of pretty, close figured material. Both woods either from the Tyrolean forests or of native growth.
Purfling near to the edge, always narrow and (in his instruments from 1640) accurately embedded. Few instruments have double-purfling - a form of ornamentation making but slight appeal to him, and possibly only to please a patron.
Interior work never diverging from strict mathematical principles. Bass-bar in one dated l650 - 8-5/8 inches in length; 4/16 of an inch at central depth; 3/16 of an inch thick. Bass-bar in one dated l665 - 9-1/4, 3/16 full, and 3/16.
Varnish of a preponderating golden-yellow shade, with a mixture of light brown or reddish tinge - plentifully applied though the substance is rather thin, woodground purified clear brown by means of the oxidising of the oil - altogether richer and more superb than any used by the other members of the family - sometimes aptly similitived to ‘sunlit dashes of mellow red on a ripe nectarine’.
August Reichers (violin maker and experimentalist of great fame) resident at Berlin, has stated that he, in 1860, fortunately acquired a genuine Amati, very much bruised in several parts, which had a beautifully thick varnish. He removed this varnish, gave it to a chemist (also an excellent violinist and pupil of Spohr) for a complete analysis, and both made the interesting discovery of finding no traces whatsoever of linseed-oil thereby subsequently asserting that the Amati varnish was a spirit one. It is left to readers to place what reliance they think proper on such a statement.
Another experimentalising individual in Germany 1926, claimed to have discovered the presence of lime-salts in the Amati varnish, which had become embedded in the pores of the wood, and was the cause of the sweetness, etc. If anyone is silly enough to credit this silly assertion, no one could be sillier if thinking that certain fiddles must have had their woods impregnated with spice according to the tone of some of them.
Now to return to Amati:
Character of his instruments not bold, but everything stamped with a remarkable charm, finely balanced symmetry, wonderful accuracy in proportions, and a tone fascinatingly sweet and astonishingly penetrating considering the absence of power which the constructive principles do not allow - a beautiful tone adapted to all the varieties of concert playing apart from the modern concerto.
Catalogued at £400 (1900).
-----------------------------------
Nicolaus Amatus Cremonen
Hieronymi Fil: ac Antonig
Nepos fecit. 1662
-----------------------------------
-----------------------------------
Nicolaus Amatus Cremonae
Hieronymus et Antonius
Nepos fecit anno 1664
-----------------------------------
Some later have the same words but are two lined.
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Nicolaus amatus Cremonensis
faciebat anno 1650
-------------------------------------
Sometimes three lined on later instruments.
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Nicolaus Amatus Cremone
Hieronymi filii, fecit An. 1651
-------------------------------------
Several three-stringed bass viols known - body length generally - fluted strips of wood strengthen the declivity to the corners - rich varnish.
Also pochettes - one preserved in the Snoeck Collection - body in the form of a boat - back in five pieces painted black - finely carved head represents a hooded woman.
Interesting examples of violins:
1647 - body length 13-15/16 inches. Catalogued by Wurlitzer (New York) at 6,000 dollars, 1925. Beautiful wood, rich and plentiful varnish, consummate workmanship.
1654 - owned by Arthur Beare of Wardour Street, London, 1920. Beautiful golden-yellow varnish. Proportions rather larger than usual. Body length 14 inches. Upper bouts, 6-5/8; lower 8-1/4. Depth of ribs, 1-1/8 to 1-3/16. Corners less elongated than is usually associated with Amati. Fine reed belly wood, and closely figured back.
1658 - the ‘Twins’. Two 14-inch specimens of very close resemblance. Particularly of graceful contour and beautifully figured material.
1660 - the ‘Marsick’. Solo instrument of Martin Pierre Marsick, celebrated quartet player and professor at the Paris Conservatoire. Presented to the virtuoso in his 20th year by Countess Eugenie de Mercy-Argenteau. Labelled with Amati’s name but some experts have affirmed that it is the work of Stradivari in his 16th year when apprenticed with Amati.
1662 - the ‘Goding’. Formerly the property of the Marchese della Rosa. Acquired by James Goding (noted collector) of Belgrave Square, London. Realised £40 at a London sale, 1857.
1668 - in the famous collection of Count Cozio de Salabue (Milan).
1674 - the ‘Mori’. Owned by Nicholas Mori (conspicuous violinist in London from 1825). Acquired by Lyon and Healy (Chicago), 1921.
1676 - the ‘Ole Bull’. Formerly owned by this Norwegian celebrity. Possessed by Stanilaus Schapiro, soloist of the Detroit Symphony Orchestra, 1928.
1676 - ‘Grand Pattern’ example. Catalogued at 5,000 dollars by Lyon and Healy, 1925.
1682 - the ‘Spagnoletti’. Owned by this Italian violinist who held a prominent position in London circles for many years. Acquired by Dwight J. Partello (famous collector of art-treasures) of America.
1683 - owned by Arthur Beare (London) - also has ‘Spagnoletti’ written on it two-piece back of pretty small curl - pine of the breast is fine on right-hand side, and broader on the left - golden brown varnish of warm glow. Body length 13-15/16 - upper bouts 6-3/16, lower, 8 - ribs 1-1/8 to 1-1/4.
1683 - the ‘Count de la Barre’. Acquired by Wurlitzer (New York), 1920.
1684 - owned by Wilhelm Cramer (of London fame during the early part of nineteenth century).
Frank Gittelson, virtuoso and professor at Baltimore, owns a particularly fine specimen, 1928.
One in the possession of Baron Knoop. Double-purfled and gorgeously decorated. Several remarkable imitations made by Vuillaume.
Signor Niccolini had a long-cornered example. Leopold Auer (Hungarian virtuoso of world fame) used one for quartets.
One owned by Duke of Saxe-Coburg. Embellished with a picture of St. Peter’s Church at Rome inlaid on the back, mottos round the ribs, and a finely sculptured lion’s head.
VIOLAS
One dated 1620 in the possession of Willett L. Adye (amateur and author) of London, 1870. Purchased from the noble family of Radetti at Venice, 1793. Brought to London by General Kyd, 1811, and reduced in size by John Dodd. Beautiful specimen with emblazoned back.
One owned by Bartolozzi and John Calkin. Acquired by James Goding of London. Sold by auction in 1857 for 45 guineas.
’CELLOS
1662 - the ‘Murray’. Taken from Italy to St. Petersburg, 1845. Bought by Count Wielhorsky (amateur ’cellist and patron of all the arts). Purchased by R. I. Murray (Scottish amateur and collector). Found its way to America, 1930. Upper bouts, l4-1/2 inches; lower, 18. Depth of ribs, 5-1/4. Golden amber varnish. Back of closely figured material.
Friednich Grützmacher (celebrated professor at Dresden) played on an Aniati for forty years.
Julius Klengel (virtuoso and composer at Leipzig) owned a full-toned specimen.
David Popper (wonderful technician and composer at Buda-Pesth) achieved his concert successes on an especially clear-toned example.
There is something very appealing about the best specimens of Nicolò Amati. They have their ‘relative’ value and, in addition to this, there is an ‘ideal’ estimate. They present an elevated resort of intellectual delight to observe and to know of the minute and persevering attention to separate details that the maker gave to his violins, and whose perspicacity and dexterity presented that harmonious concord of parts which make them real things of beauty. To Amati’s enthusiasm Stradivarius and all the rest owe their great aggregate of knowledge; for as the fire of his genius burnt on, its flame was caught by one and another energetic mind, and obstacles were removed before its irresistible agency. Who is so cold, so insensible to the charms of beauty and variety of elegance in form, as to disregard the diversified attractions of an Amati? For quartet performances no violin is perhaps more ideal - the lovely tonal quality exciting every faculty to its highest and happiest exercise of admiration, and makes us regret the absence of Protean principles.

AMATI, NICOLÒ (4)
Said to have worked at Cremona, 1691-1730.
Several violins and ’cellos known dated during this period.

AMELOT
Worked at Lorient (France), 1812-1845.
Rather good workmanship. Generally a reddish-orange varnish, but occasionally a yellow. Usually Lupot modelling. Tone and appearance typical French violins of that period.
Double-basses much sought for, and have realised high prices: of better workmanship. ’Cellos also well received.
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Amelot, luthier
à Lorient. 1829
--------------------
(Decorated with the Lorient Arms).

AMMAN (AMAN) EVERHARD (Erhard)
Worked at The Hague (Holland), 1745-1770.
Instruments exemplifying interesting conception, though the outline is not the acme of gracefulness. Broad upper bouts, curves to corners have very little sweep, excellent broad scroll, widish sound-holes, fine waist-curves, effective varnish, and nice tonal quality.

ANDERSEN, CARL
Worked at Copenhagen, 1908-1925. Esteemed as a repairer.
Made a few well-planned and graceful violins - unpretentious varnish.

ANDERSON, A.
Worked at Edinburgh, 1923-1928.
Amati model - deep scoop along edges - soft amber oil varnish. Also Stradivarian and Landolphi models.

ANDREWS, EDWARD
Born at Norwich, 1886. Cabinet maker for 12 years. Afterwards a vocalist, actor, and conductor. Resident at Great Yarmouth.
First violin made in 1926. Produced 25 up to year 1951 - Stradivarian outline, other details more or less original, body length 14-1/8 inches. Oil varnish, chiefly red and amber.
Also violas: body length 16-5/8; upper bouts 7-3/4; middle 5-3/8; lower 9-7/8; ribs 1-9/16 to 1-5/8 full; outline and sound-holes of own design.
Several excellent bows.
----------------------
Edward Andrews
Great Yarmouth
No. 19-
----------------------
(slight decorative border)
Each instrument specially named (on top line).

ANDREWS, MELVILLE H.
Worked at Bangor (Maine, U.S.A.) Died 1921. Violinist, cornet player and conductor of local orchestra.
Every little bit of wood used in his artistic instruments has been associated with some quaint historic incident. Workmanship exhibits all that microscopic care which must accompany manual execution if delicacy and refinement are aimed at. His artistic sensibility was always moved by the harmonious whole of a Stradivarius or Guadagnini, stirred artistic sensibility and expanded faculties and hand in efforts to reach the level of such exalted models. Also emulated the Italian transparency in varnishing. Imagination was kindled and enthusiasm encouraged to entertain a secret hope that he would one day fill a niche in the circle of violin worthies. Felt himself stimulated to at least equal if not to surpass, their productions, appealed to posterity for unallayed approbation.
When the necessary years have passed by for properly graduating the maturity of tone, these superb instruments will receive merited appreciation from the finest soloists. The name of Andrews should be as durable as the wood he has shaped.

ANGARD, MAXIME
Born at Arronville (Seine-et-Oise), 1849. Young days passed on a farm tending to the flocks. Became a waiter at a café. Travelled about France getting what employment he could, 1870. Worked for several newspapers. Leisure hours occupied in making mechanical instruments and various articles in wood-carving. Conceived the idea of making all the tools necessary for making a violin, 1887. Produced first instrument 1888. Gradually perfected his art and ultimately (in 1900) achieved his ambition of producing instruments of splendid design and sonorously brilliant tonal quality. Several violins built of very fine oak. Also formulated his own varnish - very transparent and supple. Had the good fortune to have the collaboration of Maurice Hayot (admirable soloist and ensemble player) in regulating the tone, etc. Won first prize at Paris, 1912, in a public ‘duel’ between old and new instruments. Inventor of a new peg system baptised by the name of ‘La Sécurité’, which was applied to more than six hundred instruments during a period of ten years, and proved that tuning became less deranged.
Indefatigably sought to perfect himself, fully knowing that science never ends.
--------------------------------------
Maxime Angard
Luthier à Paris
No.- Passage Delarualle. 1899
33
--------------------------------------
Signed ‘Angard - 1899’ near the sound post. Worked at 82 Rue Leibnitz, 1920.

ANGERER, FRANZ (1)
Worked at Vienna, 1795-1804.
Workmanship well guided by discriminating knowledge. Sound-holes, scroll and purfling well done. Sound judgment in the selection of wood. Brown varnish tastefully put on. Excellent tone.

ANGERER, FRANZ (2)
Born at Vienna, 1851. Studied with Ferdinand and Leopold Feilenreiten. Violin and guitar making. Also a very good violinist and guitarist. Established his workshop 1885. Received gold medal at the Chicago Exhibition, 1893. Died 1924. Made violins of great beauty to which the eye is instantly attracted, though necessarily many were consigned to orchestral players from the inevitable exigencies of quick trade, and thus to a certain extent their best points are veiled. Outline and arching absolutely happy conceptions. Minute finish of workmanship a triumph of manipulative cunning. Scroll has something more than just ‘carving’, an epitome of character. Beautiful golden-yellow oil varnish. Clear sounding tone. Guitars have similar points worthy of the highest praise.

ANGERER, FRANZ. (3)
Son of the preceding.
Assisted in his father’s workshop since 1914.

ANTONIAZZI, GAETANO (1)
Worked at Cremona, 1810.

ANTONIAZZI, GAETANO (2)
Born at Cremona, 1823. Son of the preceding. Worked at Milan and Cremona 1886-1898.
An experimentalist persisting in honestly-meant endeavours to depart from the standard models. The first of his experimental ideas consisted of displacing the usual position of the sound-holes and slightly distorting the customary shape, only to find that the anticipated improvement in tone was not forthcoming. But though the result of his theories had gone contrary to prediction, he determined not to be beaten. Tried various methods of arching, thicknessing of the wood, varnishing, and all those little inside dodgeries that many violin makers theorise on, only to meet with failure. Non-success did not damp his enthusiasm. Temporary disappointment, instead of weakening his determination, strengthened and reinforced it.
Experiences of failure often completes one’s competence, admonishes presumption, and enlarges understanding, until one is tolerably secure from possibility of further disaster. Fanatical and absurd schemes become rightly adjusted. After venturing on intrepid wanderings from the solidly-straight highway of predecessors one is glad to retrace one’s steps.
This maker eventually realised the futility of his calculations and replaced former extravagancies by working from a more rational basis, and his habitually decisive hand turned out splendid examples of disciplinary structure partially following the models of Guarnerius and Stradivarius. Edges rather prominently brought out. All points of workmanship disclose artistry. Red and reddish-brown varnish beautifies the prettily-marked wood. Several models and testimonials.

ANTONIAZZI, GREGORIO
Worked at Colle, Bergamo (Italy), 1738.
Light golden varnish - belly wood often of uneven grain - sometimes perpendicular sound-holes inclined to each other. Fairly large tone of persuasive quality.
------------------
Gregorio
Antoniazzi
In Colle. 1738
------------------

ANTONIAZZI, RICCARDO
Born at Cremona, 1858. Son of GAETANO (2). Worked at Milan, 1886-1910. Gained experience in the workshop of Bisiach, and later at the establishment of Monzino and Son.
Inborn talent, eagerness for knowledge and a discriminating mind impelled and drew him like a magnetic needle to emulate the Cremonese. In thought he placed himself in a position analogous to those exemplars - men who irretrievably committed themselves to do something which obliged them to do more, and which generated the necessity of doing all - and, by adamantine application, he hoped to become one of the future exemplars.
Given the world many instruments exhibiting perfect unison of craftsmanship with intellectual grasp of tonal utility, this tone being of that adequate brilliancy and requisite mellowness which attracts the soloist. Invariably Stradivarian model with rather prominent edges and beautiful arching. Generally varnished red-brown of splendid transparency; others deep red and orange-yellow.
-------------------------------------------------
Riccardo Antoniazzi Cremonese
fece l’anno 1906 presso lo Stabilimento
Antonio Monzino c Figli
in Milan, Via Rastrelli. 10
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Milanese Coat-of-Arms on the left; A.R. within a circle, on the right. Bold signature of Anto. Monzino sometimes at foot of label.

ANTONIAZZI, ROMEO
Born at Cremona, 1862. Son of GAETANO (2); and worked in his workshops at Cremona and Milan.
No grievous faults can be directed against these confidently executed instruments which are variously modelled after the best examples of Amati, Stradivarius, Guarnerius and Pressenda - those following the last name perhaps meeting with the most approbation.
Also built some on an original theory of back-and-belly thicknessing to cope with the conditions of an advanced and advancing necessity for violins of great resisting power. No complaint can be urged against the tone except its inevitable newness, but a vigorous player will feel himself on ‘terra firma’. Altogether instruments with a rosy future.
Pale orange varnish applied with sound knowledge. Well-chosen and handsomely figured wood. Ample evidence of skill and pure art in all details.
Won gold and silver medals at the Turin and Paris Exhibitions.
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Antoniazzi Romeo di Cremona
fece in Cremona l’anno 1890
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-------------------------------------
Antoniazzi Romeo Cremonese
fece a Cremona l’anno 1906
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(Coat-of-Arms on the right).
Some instruments labelled:
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Gaetano, Riccardo and Romeo
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APPARUT, GEORGES
Born at Juraincourt (near Mirecourt), 1877. Son and pupil of Leon. Worked at the Ateliers of Blanchard at Lyons, 1896-1899, and with Mougenot at Brussels, 1900-1903. Succeeded to the business of Charotte at Mirecourt, 1925. Obtained gold medals at Nancy, Brussels, Metz, Gand and Paris. Diplomas of honour at other Exhibitions.
Interesting and high finished productions of thoroughly good art. Established considerable fame in France, Belgium and America, soloists having been a powerful auxiliary in propaganding his name. Several French virtuosi acknowledge the the brilliant tone which enables them to excite astonishment and delight from an audience.
Models of Stradivarius and other Italians faithfully delineated. Outline and arching show all the care and knowledge that can only be obtained by long and matured experience. Grading, according to the model, done to a nicety, not a deviation of a hair’s breadth can be found. Everything as beautifully correct as the model. Faithful copies, but also having a tone almost like the mature Italian. Beautiful wood. Grandly transparent oil varnish, difficult, at a short distance, to distinguish it from the Cremonese.
Violas and ’cellos also stand the test of close examination, satisfying any examiner however extensive may be his acquaintance with the various schools.
-------------------------------
Fait par Georges Apparut
à Mirecourt en 19- No.
-------------------------------
(Beautifully scrolled, G.A. in large letters on the left, Coat-of-Arms on the right). Each instrument signed ‘G. Apparut’.
-------------------------------
Fait sous la Direction Fe
G. Apparut - annee 1918
-------------------------------
(Similar scrolling, etc.)
----------------------------------
Modèle après
Nicolaus Gagliano filius
Alexandri fecit Neap. 1715
Par G - Apparut
----------------------------------
(Plain border, trade-mark on the left.)

APPARUT, LEON
Born 1851. Father of Georges. Worked at Mirecourt. Associate of Paul Bailly for some years. Died in 80th year, 1931.
Violins, violas and ’cellos - superior examples of ‘trade’ instruments.

APPARUT, LOUIS
Son of Georges.

APPARUT, PIERRE
Worked at Mirecourt. Carried on all the fine tradition of his father Georges, and as skilfully as any French maker. Received several medals at Expositions. Died suddenly 1928.

ARASSI, ENZO
Born at Trieste, 1889. Established at Milan, 1914. Also excellent violinist. Violins and violas generally in Tecchler or Emiliani style. Red oil varnish, either golden or brownish shades.
---------------------------
Enzo Arassi
fabricatore Tergestina
anno 1928. No. 79
---------------------------
-------------------------------------
Enzo Arassi - Tergestinus
Mediolani Anno Domini 1925
-------------------------------------
(With signature).
Also bows of unmistakeable refinement - splendidly balanced.

ARCANGELI, ULDERICO
Born 1889. Ebonist. Resident at Morciano di Romagna (Italy), 1912. Won diploma at Cremona, 1937.
Well-made violins, violas and ’cellos. Rather distinguished for a lustrous golden oil varnish, here and there shaded with a touch of chestnut colour.
----------------------------
Ulderico Arcangeli
Morciano di Romagna
No. Firma dell’Autore
----------------------------
(with signature)
Photograph (at left) of the maker.

ARCANGIOLI, LORENZO
Worked at Arezzo (Italy) and Florence, 1825-1850.
Modelling though not complying with the most natural elegance has nothing to be cavilled at. Arch rises sharply to a plateau in the Tecchler style. Long violins. Workmanship not always of the most careful thought. Orange shade of warm-looking varnish. Tone often slightly muffled.

ARDERN, JOB
Born at Wilmslow (village in Cheshire), 1826. Spent the whole of the eighty-six years of his life there. Carpenter by trade, and had facile precision in the management of tools. Commenced the fascinating hobby of violin structure 1855, and soon found his true vocation.
Produced over 500 instruments. Made little or no effort to dispose of them, being in fairly affluent circumstances. Working method quite original, many of them not being completely finished until certain parts had had several years for ‘settling down’. Worked on, year after year, in the shade of a giant holly-tree which stood before his workroom window.
Admirable example of a craftsman deeply in love with his art, and reluctant to part with a single specimen. Took pleasure to see his creations accumulate around him - upon shelves of the workroom, around the walls of the parlour, hanging from the attic rafters, placed away carefully in cases, violins everywhere - and in that congenial atmosphere the productive years sped on, old age bringing no apparent diminution of powers of industry and carefulness.
Nearly all instruments acquired by Hill and Sons, at his death, 1912, and after giving certain examples expert finishing touches etc., placed them on the market at prices oscillating between £10 and £20. Many despatched to Canada.
Amatese modelling with a medium rise in the vicinity of the bridge. Exceptionally good conception of that dainty style, graceful and elegant, yet imbued with rational solidity. Long sound-holes, with large upper and lower curves. Scroll, often with pronounced boss, quite satisfactorily cut. Purfling, corners and edges reasonably neat. Golden-brown varnish with reddish tinge, very seriously applied and carefully smoothed - occasional specimens of a deeper red.
--------------------------
Made by Job Ardern
b. 1826. 1879
Wilmslow Cheshire
--------------------------
--------------------------
Made by
Job Ardern
Wilmslow. Cheshire
b. 1826 d. 1912
--------------------------
-------------------------------
Job Ardern
Wilmslow
No. 286. Cheshire 1898
-------------------------------
Each instrument branded with a number on the wide end of fingerboard.
Many are the caustic strictures on English violins, which, from time to time flow from the pens of influential connoisseurs. But such often - unwarranted assumptions are fast losing their power of formulating the judgment of the ordinary purchaser. That these instruments do not rest on a high vantage ground for soloists is true enough, but their adaptability to the general employment in private chamber music cannot be questioned, as the tonal quality is certainly of an agreeable mellowness as well as being brightly responsive. The future should give Ardern an honoured place among 19th century makers.

AREY, ISAIAH H.
Born at Wellfleet (Mass.), 1826. Worked at Boscawen (New Hampshire). Died 1870.
Made about 90 beautifully finished violins. Perfectly shaped scroll. Purfling and sound-holes splendidly neat. Model after the Italian masters with occasional originality in the arching. Purchased spruce and curly maple from old buildings. Varnish of lasting quality and very transparent. Tone of penetrating power and necessary mellowness for solo playing.

ARTMANN (ARTHMANN), GEORG VALENTIN
Born at Wechmar (near Gotha), 1750. Son of Johann Philipp. Followed the trade of carpenter and made instruments in his spare time. Died 1799, after sustaining considerable patronage for good work.

ASCHAUER, LEO
Born 1892. Trained at Mittenwald. Worked for Wilfer (Berlin), and Gartner (Stuttgart), 1911. Director of the Violin-making School, Mittenwald, 1923.

ASKEW, JOHN
Born at Stanhope (Durham), 1834. Shoe-maker. Played the saxhorn. Attention turned to violin making, 1874. Had a few primitive tools including a good Sheffield razor, bought a technical work, studied it with the assistance of the local schoolmaster, and entered on the ‘dream of his life’. Progressed sufficiently to win a diploma at the International Exhibition, London, 1885.
Skilful and clever though not a genius. Produced many well conceived and clearly worked specimens of Cremonese modelling. Christened one ‘Van Gelderen fecit in 1884’. Stradivarian modelling of elegant outline and beautifully graduated arching. Master-hand workmanship in scroll work, purfling and sound-holes. Golden-amber varnish of slightly reddish tint - very transparent and lustrous. Tonal quality warmly sonorous and brightly responsive.

ATKINSON, WILLIAM
Born at Stepney, 1851. Worked at Tottenham many years. Lived at Paglesham (Essex), 1911 and became postmaster to the village. Died 1929.
Made over 200 instruments. Two original models - measurements slightly differing from the Strad. Attractive outline and full edges. Neat purfling and cleanly-cut sound-holes. Outstandingly bold scroll. Highly finished workmanship in every detail. Generally handsome wood. Oil varnish of beautiful texture - various shades from pale straw to reddish-brown - elastic, transparent and soft as velvet, which consolidates and unifies the fibres of the wood - the result of years of experimenting. Frequently advertised that he had solved the ‘long lost secret of the Cremona varnish’ and called his violins ‘Cremonides’.
Robust instruments with strong (and a hint of the silvery quality) tone. Priced at £25: violas £30: and ’cellos £50.
-------------------------
William Atkinson in
Tottenham 1893
-------------------------
(Sloping lettering - varnished over with the same varnish as used on the violin to prevent ink fading - monogram stamped on back).
------------------------
William Atkinson
in Paglesham 1924
------------------------
(large lettering)

AUBRY, JOSEPH
Born at Mirecourt, 1873. Son of a guitar maker. Studied cabinet-making and wood-carving up to eighteenth year. Then served an apprenticeship in violin making, established his own premises at Mirecourt, and in 1921 gained the firstclass diploma at Paris for the perfect tonal sonority of his instruments. Also recipient of the ‘highest honours’ at the Metz Exposition, 1922. Removed to Le Havre, 1927.
When poets speak of the ‘soul’ of violins, it is not so much that these expressions have the appearance of metaphors, as that these instruments appear effectively endowed with a real sensibility and individuality. We speak be it understood, of violins coming from the hands of a maker, master of his art, himself making his instruments, one by one, like the artisan of old. In every instance, stringed instruments have each their ‘voice’, which permits us to distinguish them, one from the other. One classifies them according to the qualities of this ‘voice’, which is formed of infinitely varying elements, among which are strength and tone.
Both of these depend on the general construction, and particularly on the graduation of the arching, and the skilful management of thicknessing, with a view of arriving at an appropriate resistance and suppleness, as a whole, giving the maximum of rendering. The problem may appear simple, but in reality extremely complex, imbued and involved many passionate and indefatigable searchers in apparently never-ending experiments. Science has intervened at all times, without being able to give any definite formulae, such as it can do for other instruments. Success is only attained as a result of the harmonious blending previously mentioned, and the lack of one of these is sufficient to spoil the whole. Up to the present day all attempts to improve on the models of the Cremonese have been made in vain, and have only further emphasised the perfection of those geniuses.
Aubry, in researches, arrived at the conclusion that to successfully interfere with the principles imposed by those glorious builders was an impossibility. This afforded satisfaction to adhere most minutely to measurements of certain chefsd’oeuvre, leave nothing to chance, or indulged in any problematical innovations which almost invariably lead to futility.
In his workshops at Mirecourt we may picture him sitting there without assistants (as did some old masters) making instruments entirely with his own hands, giving every detail the benefit of a long experience, and trying with the greatest acumen to arrive at that tonal sonority which will satisfy the empirical demands of soloists and connoisseurs.
Solo violins either of Stradivarian or Guarnerian (Joseph) modelling - priced at £60 (1927). Drawing-room violins built after the model of an Andreas Guarnerius. Violas for quartet or orchestra - one of small dimensions, the other large - priced at £75. Tenors, tuned an octave below that of the violin - of unique tonal timbre - £80. ’Cellos of Stradivarian modelling - £l00.
Magnificent designs, flawless workmanship, and oil varnish of warm transparency. Splendid tonal quality - sonorous richness united to delicacy, strength with sweetness, penetrating as silvery darts, and one that impels the animation of the bow.
-------------
Jj. Aubry
Mirecourt
19-
-------------
-----------------
JH Aubry XP
Le Havre
1930
-----------------
(Signed with pen. Some marked X B)
Trade mark - an aureoled cock proudly standing on the violin breast, with ‘J. A. clara voce’ underneath.

AUCIELLO, LUIGI
Born at Molfetta (Italy), 1881. Worked at Milan, 1935.
Made special investigations in the upper and lower apertures of the sound-holes to arrive at tonal perfection - all details of workmanship and varnish completely splendid.
Each instrument carries the name of a violin virtuoso or a famed musician.
------------------------------------------
Luigi Auciello
15 Via Scarpi Milano. Anno 1940
------------------------------------------
(with signature)
Name also branded.

AUDINOT, JUSTIN
Born at Mirecourt. Worked some years for George Withers (London). Returned to birthplace 1898, established his own premises and had a large number of apprentices. Died 1903.
Very capable craftsman enjoyed a few years of prosperity in making good-class ‘trade’ instruments.

AUDINOT, NESTER DOMINIQUE
Born at Mirecourt, 1842. Son and pupil of Leopold. Worked with Sebastian Vuillaume at Paris, 1863-1868, and succeeded to the business 1875. Inherited a comfortable fortune 1912; gave up making violins etc., and bought himself a country chalet. Died 1920.
Produced over 800 instruments. Magnificently strong in wood. Excellent modelling belonging to the several favourite types (the Guarnerian perhaps receiving preference). Covered with an extremely brilliant red varnish, formulated after much experimenting.
While momentarily won by a certain air of unusual grandioseness, a more careful scrutiny reveals something slightly below the artistic ideal. However, he has done considerable honour to the craft - not a single instrument having a touch of carelessness - and his claim to some individuality cannot be controverted. As the years pass by, the finely responsive orchestral tone will ripen, though not ever reaching the Lupot or Pique standard. £40 (1930).
---------------------------------
N. Audinot
Luthier
Elêve de Vuillaume
Paris. Faubourg St. Denis
1869
--------------------------------
-------------------------
N. Audinot
Luthier
élêve de Vuillaume
Paris 18-
------------------------
--------------------------------------
N. Audinot
17 Boulevard Bonne-Nouvelle
Annee 1899. No. 693
--------------------------------------
Third label bears signature in right-hand corner.

AVERNA, GESUALDO
Born at Caltanissetta (Sicily), 1875. Son and pupil of Guiseppe (worked 1860-1900). Worked for and studied with Guiseppe Rossi at Rome. Produced first instrument 1895. Sojourned in America, then returned to native place, and worked there 1915.
Instruments modelled on the various well-known types, also one of original design. Conception and workmanship highly satisfactory. Edging rather prominently over-reaching. Golden-brown and golden-red shades of varnish sometimes applied to have a worn appearance.
----------------------------
Averna Gesualdo
fecit 1920
(Caltanissetta (Sicilia)
----------------------------
----------------------------------
Gesualdo Averna fecit
Caltanissetta (Sicilia), 1924
----------------------------------
Branded ‘G.A.’ on the button.

AZZOLA, LUIGI
Worked at Turin, 1920.
Modelling generally purporting to be Pressenda-like. Well wooded and treated to respectable workmanship. Belly wood of wide grain, and one-piece back. Dark blood-red varnish having a common appearance.
------------------------------------
Luigi Azzola fece in Torino
Anno Domini. 1921. 5 mese.
------------------------------------