JACOBS, HENDRIK
Born at Amsterdam, 1630. Died 1699. There is every evidence that these violins are becoming eagerly sought for by players, and meeting with much approbation from connoisseurs in Europe and America. Probably the most important Dutch maker. A legend has floated here and there which affirms that he worked with Amati, and married one of the daughters. Legends are sometimes more amusing than truthful. Copied the grand Amati model with astonishing refinement and delicacy of varnishing. Made the outline minutely exact with that of an Amati, also chose the same figured wood to make the imitation more complete. Certain specimens have been mistaken for Cremonese, and actually disposed of as such. This, to us, seems exaggerated, and we feel sure that an expert has never been misled, for there are, on careful examination and comparison, too many strong characteristics emphatically belonging to this Dutchman, which in their turn are not in much danger of eclipse or of adequate imitation from any maker of his country, Jacobs’ genius was too cogent for that. Often said that he inserted Amati labels, but this has never been satisfactorily proven. Amati labels, however, have been used by certain busily unscrupulous persons who seem to exist in every age. Plenty of variety to be admired about Jacobs’ modelling. Generally of large pattern (body length, 14/16 inches) but smaller examples are also known.
Entire contour of a kind of graceful solidity. Moderate arching, and very well formed corners (slightly longer than the Amati). Cutting of the scrolls may possibly dissatisfy. We have always found them rather too narrow, and certainly a trifle mean looking, causing wonder why he failed to conceive more grace or robustness in this important ornament. Sound-holes also vary in form, some having the Amati setting, of course, but others obviously suggested by Stainer, generally too much rounded (a strong individuality). Table wood invariably of fine grain.
Back and ribs of handsomely flamed material varying from close to bold figure. Splendid whalebone purfling, and there is an effective little groove with a fascinating little gradient therefrom. This whalebone has sometimes been removed by other hands, and wooden material substituted, when attempts have been made to gull the credulous that they are buying an Amati. Varnish different from that of an Amati, not only in quality and tint, but also in the mode of its application. Reddish brown generally, occasionally a red tending to purple, and (only on later instruments) a rich golden orange. In neither instance does he get on an equality with Amati though he merits distinction. Its constitution is heavier, and the surface is not so finely finished.
Tonal quality bears slight affinity with that of the Cremona violin, in fact its character is quite distinctive, nevertheless a splendid one, not very powerful, but its penetrating sweetness may be particularised. Catalogued at £150 (1930) and the exorbitant figure of 1,000 dollars in America. £400, 1960.
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Hendrik Jacobs me fecit
in Amsterdam, 1690
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(square lettering)
Label occasionally without the word “in”. Sometimes the spelling of the name is Jacobus or Jacobsz (on early instruments).
Produced a few really splendid violas, on which he lavished his best workmanship, and showed up the capabilities of colour in the varnish.
Many violins (undoubtedly forgeries) bear the name of Jacobs - cheap affairs, with common whalebone purfling, of heavy construction, and quite ordinary looking. Value about £10.
JACQUEMIN, RENE
Born at Mirecourt, 1886. Pupil of Audinot. Worked for Caressa at Paris. Established in native place, 1919. Gold medal, 1926.
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Rene Jacquemin,
Ex Ouvrier des Luthiers du Conservatoire de Paris.
70, Rue Chanzy-Mirecourt.
Anno 1926
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JACQUOT, CHARLES
Born at Mirecourt, 1804. Apprenticed to Nicholas aine, 1819; later to Breton. Established at Nancy, 1827-1854, and at Paris until death, 1880. Early instruments emanating from Nancy are wholly of Mirecourt style, not endowed with much beyond the very ordinary, and often of poor quality wood.
Outline and arching show only the faintest germ of artistry, and workmanship of other details obviously illustrate that he was but “walking along the road picking up grains of experience.” We are told that he was a very consciehtious worker - one who often mistrusted the next day what he had done the preceding day and destroyed several of such conceptions - and that he manfully strove to accomplish a greater uniformity of skill as he had no wish to be outdone by any contemporary. On taking up residence in Paris, he had matured his talents and produced many instruments that do honour to his name and the French school.
Stradivarius, Guarnerius, and Maggini modelling, handled with considerable power, and reminding of a J. B. Vuillaume. Fine freedom of touch about scroll and sound-holes. Various shades of varnish, generally of fine texture, from yellow to red (perhaps a little too brilliant to satisfy some) particularly the ordinary red on orange ground. Tonal quality brilliant, but twangy and nasal, though this is disappearing with age. Realised about £12 for each instrument, not a poor figure in his day. Catalogued 1930 at £25. £85, 1960.
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Medailles d’or et d’argent
Charles Jacquot J+C
42, rue de l’Echiquier a Paris
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Medailles d’Or et d’Argent
C. Jacquot.
Luther Poissonnerie-19
19, Rue de Ia Nancy
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(with two series of medals)
Early instruments often not labelled.
JACQUOT, FERNAND
Son and successor of the preceding. Born at Nancy, 1884. Studied at Mirecourt in the workshop of Mougenot Gauche. Established at Nancy, 1925. Won medals and diplomas at many exhibitions. Produced instruments, which, for elegance and grace of form, and loveliness of varnish rank among the best of the modern school. Also there is a tonal quality which, with increasing age, will inevitably increase their pecuniary value.
Similar label to that used by father, shield, initials F.G., and Lorraine coat-of-arms. £90, 1960.
JACQUOT, PIERRE CHARLES
Son of Charles. Born 1828. Died 1900. Succeeded to father’s business at Nancy, 1854. Gained a splendid reputation for well constructed instruments following the models of Stradivarius and Guarnerius. Copied the style of father, but with workmanship less refined, also of heavier appearance. Recipient of medals at Merz 1861, London 1862, Lyons 1870, Paris 1878, Algiers, Moscow 1891, Vienna 1891, and Chicago 1892. Received the cross of the Legion of Honour, 1892.
£75, 1960.
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Medailles d’or et d’argent
C. Jacquot
Luthier
19, rue de la Poissonniere 19
Nancy
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(designs of medals on left and right)
JAIS, ANTON
Son of Franz. Born 1748. Died 1836. Worked at Mittenwald from 1769. Excellent instruments of their type and period. Had the habitual predilection for the rather high arched Stainer model—but also produced a few specimens suggesting Amati influences. Outline, sound-holes, and scroll quite splendid. General workmanship satisfactorily delicate and refined. Good acoustical material for top, and frequently prettily flamed for the back. Yellow, yellow-brown and (principally) dark reddish brown varnish of good quality. Rather powerful tone, not remarkably clear, but with a fair measure of mellowness. £25. (1923). Some examples anti-dated 1700. £85, 1960.
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Anton Jais, in Mitten
wald an der Iser, 1836
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(slight decorative border)
JAIS. JOHANN (1)
Worked at Botzen (Tyrol). Born 1732. Died 1780. Son of Franz. Modelling has Albani characteristics with medium arching. Altogether excellent examples of Tyrolese work. Splendid wood in grain, figure, and acoustically. Red brown or yellow brown varnish. Sweet and round tone, smooth and warm. £30. £65, 1960.
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Joannes Jais me fecit
Bulsani in Tyroli 1772
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(decorative border)
JAIS, JOHANN (2)
Worked at Mittenwald, 1775. Stradivarian modelling in typical Tyrolean style. Wide grain belly wood, rather plain material for back and ribs. Reddish brown varnish, satisfactory tone. £20. £60, 1960.
JAIS, JOHANN (3)
Born 1715. Died 1765. Son and pupil of Andreas. Worked at Tölz. Strong allegiance to the work and style of father. Attractive outline and arching. Workmanship not always neat, and not faultless. Specialised in fancy heads, some of quite unique design. £75, 1960.
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Johannes Jaiss
Lauten
macher in Tölz
1762
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JAUCH, JOHANN
Worked at Dresden, 1735-1762. Not to be confused with Johann Jauck at Gratz. Not notable highlights in Cremonese modelling but of brisk tone which has induced fanciful prices from certain advocates of the Austrian school.
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Joannes Jauch me fecit
Dresde Sa Anno 1741
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JAUCK, JOHANN
Born at Gratz (Styria). Worked there, 1732-1760. Followed the Tyrolian-Stradivarian model, an alluring outline with medium arching. Workmanship very well finished, particularly the edges. Wood not to be disparaged and though often of slight flame, is generally of pretty effect. Excellent scrolls, sometimes ingeniously carved figures. Golden reddish brown varnish often plentifully applied, certainly rich in colour and texture. Though showing that he had all necessary wisdom in correctly working out various thicknesses of wood and inner proportions, the tone is untinctured with that beautiful colour of mellowness which is such a source of joy to performers and often remains shrill and rather weak. Some of his instruments perhaps not quite within the province of this criticism, have realised £50. Produced several viol d’amours.
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Joannes Jauck fecit
Graecii Anno 1735
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Johannes Jauck me fecit
Anno Graecii 1758
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JAY, HENRY
Worked in London, 1615-1667. Made several viols now converted into small ’cellos. Skilful workmanship, splendid design. Interesting scroll and purfling especially fine. Varnish of rich texture, warm colour, well applied. Genuine sonority of tone though not strong. Also known for a few cleverly worked lutes. £90, 1960.
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Henry Jay
in Southwarke 1667
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JAY, HENRY
Worked in London, 1740-1776. Made a large number of dancing master’s kits. Several violins of graceful modelling. Tonal quality valued at £40 (1925). Reddish brown varnish, very attractive. ’Cellos of particularly well developed arching. Small pattern generally. Fine workmanship, scroll outstandingly so. Backs some times of one piece plain material. Early dated specimens have a really extraordinary, deep purple plum colour varnish, later ones often brownish red.
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Made by Henry Jay
in Long Acre, 1742
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Made by Henry Jay
in Windmill Street
near Piccadilly, London. 1768
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Some signed “Longman and Broderip” on the back. Others have “H. Jay” written in ink on belly under fingerboard. £95, 1960.
JOHNSON, JOHN
Worked in London, 1750-1762. Stainer modelling though perhaps the arching is very slightly reduced. Large pattern and heavy looking for that particular type. Margins very narrow and sharply prominent from the groove encircling the instrument. Edges slight and flattish, corners rather stunted. Scrolls often clumsy, reducing with unblushing effrontery what should be gracefully artistic, to common ineptitude and sometimes complete ugliness. Sound-holes rather straight, fairly wide and generally not well finished. Belly often badly damaged. Backs generally of two pieces and of nicely flamed material. Often painted lines instead of purfling. Thin and dry varnish, originally yellow now golden brown, looking fairly good on the back but often streaky on the front. Interior work not so mediocre. Tonal quality usually fairly strong and penetrating but rather shrill and nasal at times. £40 (1925). A few isolated examples known which are of more careful workmanship and being in good preservation, have an appearance not to be despised. One such was sold for £80 in America, 1928. £90, 1960.
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Sold by John Johnson
Cheapside. London.
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Made and sold by John Johnson
at the “Harp and Crown” in Cheapside
17 London 53
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JOMBAR, PAUL
Born at Paris, 1868. Pupil of Audinot, 1882-1886. Worked for Gand and Bernardel; established own workshop, 1892. Decorated “Chevalier de la Légion d’Honneur”, 1901. Died 1949. A fine maker, who, with sound thought and study, made successful departures from the authority of tradition, but always with judicious skill and sense. Perfect workmanship. Modelling as elegant as anyone can desire. Contributed examples that will compare, without danger of criticism, with the best French makers of the past, and ought to give an object lesson to any young aspirant in violin construction. No little point overdone. Varnish brought “alive” with much persuasiveness. Beautifully clear tonal quality, and sufficiently powerful to give the possessor of one of these instruments every reason to be proud of his property. £600, 1960.
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Paul Jombar
20 rue Rochechouart. Paris.
19. an. 1899
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(with monogram within a circle on the right)
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Paul Jombar
Luthier à Paris
No. . . . . an. 19. .
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(prettily scrolled, monogram at the top)
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Fait sous la Direction
de Paul Jombar. Luthier
20 Rue Rochechouart à Paris
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(for instruments made by his workmen)
Also produced many bows highly esteemed by the French.
JORIO, VINCENZO
Worked at Naples, 1830-1850. A maker of extensive knowledge who, however, did not treat all instruments effectually towards attaining a fine tone, as he sometimes departed too freely from the geometric basis of the design as a whole. Very thoughtful and facile workmanship. Sound-holes and scroll treated with skill, and nicely designed. Large pattern, and judicious restraint in the arching. Usually medium grain spruce, and handsomely figured maple. Rather attractive yellow or golden red varnish. Tone never really satisfactory because of the previously mentioned little trips away from the purest principles of art. 600 dollars has been attached by American dealers to fine specimens, but we have not seen an example for which we should feel inclined to give more than £30 (1930). Postiglione was his best pupil.
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Vincenzo Jorio
Fabricante
di Stromenti Armonici
Strada S. M. la Nuova. No. 21
Napoli. 1833
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(ornamental; three types of lettering; printed on yellow paper, sometimes without border)
S.M. - abbreviation of Santa Maria.
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Vincenzo Jorio
Fabricante
di Stromenti Armonici
Neapoli. 1849
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(on yellow paper)
Also made several excellent violas, valued at £40 (1932).
Brownish yellow varnish. Average dimensions: body length, 15-1/8 upper bouts, 6.15/16; lower bouts, 8-5/8. £125, 1960.
JUZEK, JOHN
Guarnerian outline, sound-holes slightly elongated. Scrupulously cut Stradivarian scroll. Rather soft golden brown (with a touch of red) varnish. Bright and large tone.
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John Juzek
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JuZek
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Violinmaker in Prague
May 2. 1920
Made in Czechoslovakia
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(with signature)