NAFISSI, CARLO
Worked at Gubbio (Apennine mountains), 1867. Design and workmanship wholly amateurish.
NAMY, JEAN THÉODORE
Worked at Paris, 1755-1807; first for the widow of Salamon; and in the Place du Louvre, after 1783. Had a remarkable reputation as a restorer of the most indifferently made instruments, enhanced their tone and appearance, and triumphantly received the highest enconiums from the remotest parts of Europe. His own few instruments afford the most pleasurable sensations. Outline, arching, and sound-holes executed in accordance with Stradivarian delicacy and refinement - a sufficient guarantee for the well nigh perfection of those important parts. Light reddish-brown varnish of striking application, quite Cremonese-like. Scroll delightfully posed, and splendid in contour. Tonal quality somewhat akin to the Italian mellowness. £40, 1928. £85, 1960.
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Fait par Namy, Luthier
chez Madame Salamon
à Paris 1773
-----------------------------
(sometimes written)
Initials branded on the back.
NEBEL, HANS
Born at Mittenwald, 1892. Worked at Vienna. Stuttgart, and for Wurlitzer at New York. Returned to birthplace, 1945. Cremonese and other models carefully replicated.
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Hans Nebel
Mittenwalder Geigenbau
nr. anno
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NEMESSÁNYI, SAMUEL FELIX
Born 1837. Descendant of an impoverished noble family at Liptoszentmiklós (Upper Hungary). Went to Pesth in 18th year to work for Schweitzer, and (in 1858) for Sitt at Prague. Later lived at Szeged, and returned to Pesth, 1863. Died 1881. Particularly ingenious copyist of old Italian models. Had a marked predilection for Guarnerian modelling, and produced many specimens magnificently adherent to the masterly prototype. So great is the similarity that some have been re-labelled and sold as genuine Cremonas. Similar treatment given to the Strad and Maggini designs. Backs generally with broad well defined curly maple cut on the slab. Sound-holes rather sharply cut and cleanly finished. Slight channelling. Rims and corners rounded with the utmost nicety. Immaculate purfling and scrolls. He seldom varnished in one colour, but preferred remarkably warm shading. Though containing little oil this alcohol varnish possesses sufficient to give the necessary “fire” and is beautifully transparent. Beneath this yellow gold to deep red varnish, he applied his “secret” golden yellow ground, all contributing to the impression that the instruments must have emanated from Italy. Used belly wood of the very finest quality, which allowed him to work it as thin as 2.2 mm. under bridge. His superior specimens have this treatment. Made a few violas of small pattern, generally of a lower standard than the violins. Also produced several magnificent ’cellos comparable with the best of any country. Unfortunately, unable to place a check on his unruly disposition towards dissipation and inebriation, ultimately descended to merely trading with German made merchandise, and finally wandered from town to town glad to do anything to temporarily replenish his purse - a typical instance of genius trampled on by one of the numerous afflictions besetting humanity, and ending in death at the zenith of life.
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Samuel Nemessányi
fecit Pestini, 1874
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---------------------------------------------
Samuel Nemessányi fecit ad formam
Antonio Stradiuarii Pestini 1865
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---------------------------------
Csinálta Nemessanyi Samu
Pecsen S.N. 1861 II
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Nemessányi Sam
P. Maggininiutan Bpesten 1879
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Samuel Nemessányi fecit ad formam
Joseph Guarnerii pestini anno 1879
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Some labels have “Samueli”. Occasionally used a brand N.S. or S.N. above label.
Tonal quality completely congenial to the bravura soloist, neither string dull or unequal, but a splendidly free emission of sonorous strength and brilliancy, but perhaps wanting a little in “softness”. Some instruments classed as equal to a Lupot. £85, 1960.
NEUNER, LUDWIG
Most brilliant representative of the family. Born at Mittenwald, 1840. Trained in the workshop of his father Johann; worked with Andreas Engleder at Munich, also studied ’cello playing with Werner at the Conservatorium. Proceeded to Vienna where he was assistant to Gabriel Lembock; then spent six years under the guidance of J. B. Vuillaume at Paris; also continued his ’cello studies by taking lessons from Franchomme. The cleverness of his subsequent work must be entirely attributable to the impressions gathered from the masterpieces continually passing through the hands of the eminent Frenchman. Worked a few months in London; opened an establishment at Berlin, 1867; worked there with two workmen until 1883. Death of brother and father necessitated his return to Mittenwald, where he took over the control of “Neuner and Hornsteiner”. Had branch premises and workmen at Berlin and Innsbruck. Appointed maker to the Bavarian Royal Family. Recipient of various medals at Exhibitions throughout the world. Died 1897, after organising the firm in such a manner that 200 men were daily employed in coping with large orders from every country. An accomplished man, cultured conversationalist, etc. who could proudly boast of any acquaintance with Kaiser Wilhelm, Prince Leopold, and many of the celebrated virtuosi and composers of his country. Spent the last few years of life endeavouring to solve the secret of the varnish of the old Cremona masters. The firm produced all grades of stringed instruments from ten shillings upwards. “Solo Violins” and “Solo ’Cellos” were the personal work of Ludwig. Superior workmanship at the relatively small price of £15. Perfect modelling and replicating of the Messe Strad, or the Paganini Guarnerius, Amati, and Maggini. Finely wooded, richly varnished, and of splendid tone. Produced interesting copies of the Servais and Lübeck Strad ’cellos. Also made bows for artists.
--------------------------------
Neuner & Hornsteiner
Mittenwald in Baiern 1861
--------------------------------
NEUNER, MATHIAS (1)
Worked at Mittenwald. 1720-1773. Completely satisfying in modelling and workmanship. Surprisingly powerful tone.
NEUNER, MATHIAS (2)
Son of Johann. Born at Mittenwald, 1762. Worked there until death in 1830. Travelled extensively to popularise his productions. Unfortunately happened to be in Moscow during the Napoleonic war, and lost all his violins in the devastating fire. Returned to Mittenwald with one ducat in his pocket. A persevering man of large business capacities who soon put himself again on the road to prosperity by opening up trading relations with Italian. French and English dealers. Ultimately employed several workmen. Stradivarian-Klotz modelling of pretty outline and finely graduated slight arching. Average measurements: Bodylength 14 inches; upper bouts 6-3/8; lower 8; ribs 1-1/4 full depth all round. Altogether a pleasing model. Sound-holes not superlatively graceful. Scroll somewhat narrow at the front, otherwise rather large. Sometimes ornamental purfling of scroll design rather suggesting the ordinary cheap commercial violin. Originally a golden-brown shade of varnish, now oxydised to a reddish-brown or dark red thickly applied. Excellent tonal quality but without great power. Well chosen and handsome wood. £30 (1930). Also nice toned Stradivarian violas, red-brown varnish. ’Cellos of graceful modelling, similar varnish.
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Mathias Neuner Geigenmacher
in Mittenwald, 1795
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Mathias Neuner, Geigenmacher
in Mittenwald, an der Isar, 1805
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Mathias Neüner, Geigenmacher
in Mittenwald, 1812
Nro 94
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---------------------------------
M. Neuner & Hornsteiner
aus Mittenwald an der Isar
---------------------------------
94 refers to the number of his house, and not the number of the instrument as sometimes erroneously stated. Name also given as Neiner, but not often. Many of the later dated instruments were made by apprentices and pupils, and considerably vary in tone, workmanship and price. £30, £50, £85, 1960.
NICOLA, UTILI
Born at Castelbolognese (Italy), 1888. As a child very fond of music. Made guitars and mandolines for an Exhibition, 1904. Then started violin-making, and ultimately evolved an entirely new model by turning the four corners inwards. Highly appreciated in his own country, Switzerland, and America. Won first prize at Turin Exhibition, 1928 for a quartet of very handsome instruments. Flattish modelling. Guarnerian waist curves, sound-holes, and scroll. Magnificent workmanship in every department. Bass bar made with the grain transverse in order to make it stronger and to avoid cracking. Pure linseed oil varnish, virtually analogous to that of the classical makers. Applied thinly a large number of times, and allowed three months to dry when exposed to the sun all day. Result very fine. Highly flamed wood for backs. Undeniably splendid in wealth and purity of tone. Various labels, each lavishly ornamented.
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1922. Nicola
da Castel Bolognese
1923. Nicola da Castel Bolognese
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Utili Nicola, fabbricante
Castelbolognese. 1900
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----------------------------
di instrumenti a corda
Castelbolognese. 1904
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Nicola
Fece tili. Nel 1921
In Castelbolognese
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NICOLAS
see VAILLANT.
NICOLAS
Worked at Aix (France), 1815-1840. Ordinary Mirecourt style of a Strad model.
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Restauré par Nicolas
à Aix. 1838
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NICOLAS, DIDIER (L’AINÉ)
Also known as “deaf Nicolas”. Born at Mirecourt, 1757. Died there 1833. Violins of good workmanship though not particularly well finished. Attempted to give his instruments a certain personality which is very conspicuous if not altogether admirable. Large modelling, rather forbidding in breadth, with arching slightly more elevated (and less graceful) than the Stradivarian. Over-done substantiality from which we cannot anticipate getting real beauty of tone. This tone, as a matter of fact, is altogether monotonous, certainly large and loud enough, but generally coarse and unpleasant, and without the slightest sympathy. Orchestral players often try to get a good specimen. Excellent margins, purfling likewise good, edges slightly raised, lending character to the contour. Somewhat puzzling sound-holes, being noticeably wide at the middle, and the wings cut off almost horizontally. Originality has its good points, but only when any peculiar idiosyncracy preserves artistic grace - and here, we think, Nicolas signally failed. Much more sensible judgment shown in the shades of varnish - a red brown tinged with yellow, brownish-yellow without brilliancy or transparency, and an especially good looking red. Some instruments labelled as by Nicolas Gagliano. Catalogued at £35 although £60 has been given. Also violas, body length, 15-1/4 inches. Branded (where label is usually placed).
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A la Ville de Crémonne
D + N
D. Nicolas ainé
-----------------------------
Also signed with pen and ink, near the sound-post: “D. Nicolas. ainé à Mirecourt”. Notice the two n’s in Crémonne.
The above description applies to the instruments made entirely by himself previous to year 1810. After gaining marked popularity and Exhibition awards, he developed a large trading concern, which, at the time of his death, needed 500 apprentices, pupils, workmen. etc., to cope with the demand. These instruments, though of similar modelling, are not in the same category as the former. Powerful tone but altogether hard. Varnish also often dull and cold looking, various shades from light yellow to dark brown. Branded with the triangular design. This noted trade mark was bought and traded upon by Derazey which later became the sole rights of Laberte and Magnié at Mirecourt who today build hundreds of violins bearing the name Didier Nicolas ainé and exactly reproduce all the well-known characteristics of the original. £30, £65, 1960.
NICOLAS, FRANÇOIS
Worked at Mattaincourt (near Mirecourt), 1752. Known for well worked quintons, yellow varnish.
NICOLAS, FRANÇOIS NICOLAS FOURRIER
Born at Mirecourt, 1758. Apprenticed to Saunier at Paris, 1770. Appointed maker to the Royal School of Music, 1784, and to the Emperor, 1804. Made all the stringed instruments used in the private orchestra of Napoleon I. Died 1816. Pattern, though of large proportions has much consistency to the Stradivarian. Workmanship uniformly well finished. Artistic sense is the governing spirit of the arching and sound-holes (a fortunate relief from those of a Didier). Sides sometimes rather shallow. Scroll shows the maker’s invincible determination to make it bold. Wood, in every department, most carefully chosen. Proportions minutely accurate. Either a brilliant red varnish (Lupot-like), or a red-brown, or a deep orange (red on a yellow ground), generally thickly applied. Strong toned violins, like rivers, will make their way somewhere, and if a violinist wants an instrument for fine symphonic work, his decision in favour of one of these should not long be delayed. Catalogued at £50; 600 dollars in America. ’Cellos magnificently built, and have a finely full sonority.
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Nicolas, luthier, rue St.
Nicaize, No. 502 à Paris. an 1797
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(often written)
----------------------------------------
Fourrier Nicolas
Luthier de la Chapelle de sa Mte.
L’Empereur Napoleon ler.
L. Parisiorum anno 1806
-----------------------------------------
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Reparé par Fourrier Nicolas
luthier de la chapelle de S. M. l’Empereur
pour son ami Julien, chef d’orchestre
des bals de la cour, 1806
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Name and work must not be confused with Nicolas l’ainé. The difference between the two is most marked. To distinguish himself from the other he frequently stamped “Nicolas de Paris” on his productions. L’ainé allowed himself to be handed forward to all the demands of trade, and so rendered his art subservient to money; the other advanced with the determined principle of making everything subservient to his art. The artistic deliberation of such a mind is a very different thing from the fluctuation of the other. Some instruments ticketed as made by Lupot. £100, 1960.
NIEDT, KARL
Born 1872. Pupil of E. F. Reichel at Markneukirchen. Established at Würzburg (Bavaria), 1897. Died 1950. First period instruments belong to the ordinary copying of well-known styles. Tyrolean and Italian. Produced them at an almost incredible ratio of speed to keep pace with the extraordinary demand. However this extensive multiplying did not bring in its train anything that was not well designed, or not of especially nice workmanship, with equally eye-pleasing oil varnish (a nice yellowish red shade). Second period instruments deviate from the usual proportions by having stronger plates and greater breadth, also a differentiation in the height of arching. No improvement in tonal quality resulted. Third period instruments rationally modelled on Stradivarian and Guarnerian principles. Subsequently copied, rather frequently, the varnishing peculiarities of Lupot and Vuillaume. Entire design and workmanship splendid, and finely supplemented by a tone quality of outstanding excellence. Also highly reputed as a repairer and for certain special tonal adjustments by which he guaranteed to renew the life of any battered old specimen. Inventor of a new-art-spun G string.
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Karl Niedt
Wurzburg, anno -
----------------------
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Karl Niedt, Geigenbauer
Würzburg 19. .
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Karl Niedt
Würzburg. fecit 19. .
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NIGGEL, SYMPERT
Born at Schwangen (Bavaria), 1710. Worked at Fuessen from 1730. Died 1785. First period instruments subject to the outline and high arching of the Stainer modelling. A slight heaviness perhaps detracts, but on the whole, the workmanship is free from listlessness of hand. Second period instruments, of medium arching, partake more of Tyrolean-Amati style, something similar to that of the second Matthias Albani. Outline pre-eminently pretty. Various proportions splendidly accurate, and thicknesses of wood finely graduated. No undignified judgement or hapless plight of a shaky hand about the scroll. Excellent belly wood, and usually prettily marked material for backs and ribs. Three shades of rather brittle and chippy varnish, light yellow, red-brown and one of darker tint (a sort of reddish cherry colour, and his favourite), applied in such a manner as to show that he had at his command all effective forces which execute the decrees of art. Healthy character of tonal quality, not particularly powerful, but of an agreeable evenness and clarity. These violins are comparatively little known in this country, and since dealers (either from caprice or indolence towards the lesser lights of German emanation) have not yet specialised them, the price remains at the ordinary figure of £30 (1928). Also produced many viols with decorative heads, finely carved and reddish-brown varnish. ’Cellos full of Tyrolean characteristics awakening the senses to a premonition of semi rich tonal quality.
---------------------------------
Sympertus Niggell
Lauten und Geigenmacher
in Füssen, 1765
---------------------------------
Others in ordinary lettering, and two-lined. Some branded “S.N.” or “N.S.” inside. £65, 1960.
NISBET, WILLIAM
Born at Stenton (Scotland), 1828. Worked at Lint Mill, Preston Kirk. Died 1903. A versatile genius, son of a labouring man, self-taught in wood carving, basket making, fancy cabinet work, natural history and science, and violin making. Acquired rather splendid technical skill engineered by years of enlightened observation of the world’s masterpieces and gleanings gathered from treatises. Early dated specimens belong to the Maggini style. Subsequently adopted a semi-Amati outline and arching, but with a distinctively broadened waist originally created to obtain increased tonal power. Measurements: - Body length, 13-15/16 inches; upper bouts 6-7/8; middle, 4-5/8; lower, 8-1/8. Corner to corner, 3-3/16; length of sound-holes, 2-7/8; distance between top of sound-holes, 1-3/4; ribs 1-1/4 all round. Scroll casts no reflection on his conscientious attempt at originality, though not ideally artistic. Excellent volute, over prominent boss, semi-bulgy sides, and the scallop with flattened edge, not a liberal supply of consistency in refinement and certainly no chariness of robustness. Full-looking corners, but not unruly protruding. Edging not beautifully rounded. Purfling rather wide, but laid with a skilful neatness corresponding with unblemished accuracy. Nice flight of curvature accompanies the Amati-Strad sound-holes, though occasionally the upper and lower apertures of the left are not absolutely uniform with the right. Belly wood of strong and regular fibre, and generally one-piece backs with the flame running at a slight angle. Spirit varnish of nut-brown or crimson shades, not of hard surface, and splendidly applied. Tonal quality particularly responsive, strong and cutting, something affording an enduring and ever fructifying gratification to the player who hopes for maturity of sweetness. Produced 120 specimens, and £25 should not embarrass any prospective purchaser who desires to encourage British enterprise.
----------------
Wm. Nisbet
Lint Mill
1886
---------------
Inscribed with lead pencil slightly indenting the wood where label is usually placed. Gained bronze medal at the Edinburgh Exhibition 1885. Also had a good local reputation as a reel and strathspey player.
NOEBE, LOUIS
Born 1844. Youthful years devoted to violin playing. Established atelier for violin making 1865, at Homburg (near Frankfort), and was working there 1922. Fairly prolific productivity in violins, violas and ’cellos. Stradivarian modelling, tolerably refined workmanship, neat scroll, nice wood, warm-looking brown varnish (also other shades), graceful sound-holes. Made several innovations in construction, one being an “induction bass bar” which seems to have become permanent.
Label - bearing the design of his model with the words “System Noebe” and “Schütz-Mzrke” (trade-mark). Also L and N - red paper.
-----------------------
Louis Noebe
Künst-Atelier
Homburg v.d.H.
L.N. 1880 No. 39
April
------------------------
(“System Noebe” 1880, branded on the back inside)
NORMAN, BARAK
Born 1688. Worked in London. Died 1740. Apprenticed to Thomas Urquhart. Early instruments rather resemble those of his teacher in being somewhat Stainerish. Not long disposed to be content in this region, and eventually fixed keen attention on the Maggini characteristics in the matter of double purfling and the many variegated devices of ornamental curves on the back. One essential principle in his character was a total incapacity of surrendering to indifference or delay the serious determinations of the mind. A strenuous “will” accompanied his conclusions of thought and constantly incited the utmost efforts to give them a practical result. Produced very few violins. Usually slab backs, and brown varnish. Some very fine violas known. Early dated ones rather highly arched and of large design. Later reduced the arching to medium. Workmanship always invested with neatness. Especially interesting sound-holes though occasionally we might not consider them of ideal grace. Very dark brown varnish, seeming as though the wood had been artificially darkened before applying the varnish. Some have two rows of purfling with a design worked between. Catalogued at £40 (1920). Reputed to be the first British maker of a ’cello. These are closely allied to the Maggini in design. Usually of large size with all dimensions beautifully proportioned. All workmanship of first-class order. Fine belly wood and handsome slab backs. Tonal quality particularly rich and sweet. Viols particularly noteworthy - highly valued by collectors. Many viol-da-gambas converted into ’cellos - length 26.4/5 inches; upper bouts 12; lower 15; ribs 5.1/5. Transparent brown-yellow varnish thickly applied. Backs quite flat, cut slab-wise, bellies of slight arching.
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Barak Norman
at the Bass Viol
in St. Paul’s Alley.
London. Fecit
1706
-----------------------
(sometimes in large italic engraved letters within an elliptical laurel wreath)
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Barak Norman at the Bass Violin
in St. Paul’s Church-yd. London.
Fecit 1723
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Sometimes branded -
-------------------
Barak Norman
London
fecit
-------------------
on the belly within a small circle surrounded by a beautiful design in purfling. Monogram N.B. also inlaid, often seen on the centre of the back or under the wide part of the fingerboard. Sometimes the design is painted, but only on instruments that are not genuine. These cheap reproductions are fairly widespread. Entered into partnership with Nathaniel Cross about 1705.
---------------------------
+
Barak Norman
and
Nathaniel Cross
at the Bass Viol in St.
Paul’s Church Yard.
London. Fecit 1724
---------------------------
Also branded with a joint monogram.
In a viol-da-gamba was found a label in the handwriting of Cross -
“Nathaniel Cross wrought my back and belly”
The sides and scroll were done by Norman. One violin, dated 1708, found its way in a rag-bag of rummage to the National Institute for the Blind, London, 1934. Authorities decided not to sell it, but considered that the interests of the blind would be best served by loaning it on important occasions to violinists afflicted with blindness. Violins £75, ’Cellos £120, 1960.
NORRIS, JOHN
Born in London 1739. Pupil of Thomas Smith, went into partnership with Robert Barnes 1765-1780; worked at Bath 1805-1810; returned to London 1810; and died 1818. More of a trader than an actual maker. Generally assumed that all instruments bearing his name or that of his partner, were made by assistants in their employment. Stainer and Amati modelling which never errs against good taste though ordinarily conceived. Yellow-brown varnish of indifferent substance, and sometimes excessively cloudy, super-adding an utterly commonplace appearance. Tonal quality rather small, monotonous, and wearying.
----------------------------------------------------
Made by Norris and Barnes
Violin, violoncello, and bow makers
to their Majesties Coventry Street. London
----------------------------------------------------
--------------------------
Made by John Norris
at Bath, 1808
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Made by John Norris
Coventry Street, 1812
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Name sometimes branded on the back. Also many bows branded “Norris” or “Norris & Barnes”. Several frequently stamped on both sides of the saddle. Productions probably from the hands of Dodd, as style and workmanship are quite similar to authenticated specimens of that reputable maker.
NOSEK, VÁCLAV
Born at Trest (popular summer resort in Moravia). Worked there 1927. Violins acclaimed as representing the greatest advancement in violin construction since the days of the Cremona makers. Built correctly on the usual scientific principles. Italian breast wood. carefully chosen for its “singing qualities” - backs of the prettiest material. Discoverer of a special oil varnish which has materially assisted him “in solving the problem of old Italian tone”. Asserted that “these new era violins, without any development, answer the most exacting requirements in evenness, brilliance, quantity and quality of tone colour”. Endorsed by Sevcik, Koian and other Bohemian virtuosi, also gold medals at various Expositions.
NOVELLI, NATALE
Born 1908. Pupil of Pedrazzini. Worked at Milan. Strad modelling, flawless workmanship, reddish-golden varnish. £80, 1960.
---------------------------------
Natale Novelli
All’vo E Nipote Pedrazzini
fece Milano, 1947
---------------------------------
NÜRNBERGER, FRANZ ALBERT (1)
Born 1826. Died 1895. Pupil of Bausch for bow making. Founder of the Bowmaking Guild at Markneukirchen of which he remained director for 25 years. Productions universally acknowledged to be without flaw. Of admirable length and balance. £25, 1960.
NÜRNBERGER, FRANZ ALBERT (2)
Born 1854. Son of the preceding. Established at Markneukirchen since 1880. Became famous throughout Europe for bows. Produced faithful representations of the Tourte. Voirin and Tubbs models. Each specimen possesses the greatest merit in point of sheer workmanship, but the maker also had sufficient discernment of the strength without over-weight, necessary for the vigorous playing of this modern age. Lineaments of the head especially outstanding. Stamped “Albert .Nurnberger”. Used extensively by virtuosi. Recipient of several medals at exhibitions. £25 to £30, 1960.
NÜRNBERGER, KARL ALBERT
Son of Franz Albert. Established at Markneukirchen 1908. Died 1931. Followed his father’s footsteps in the making of high quality bows to fulfil the exacting needs of present-day violinists. Resistance, flexibility, balance, and weight all beautifully regulated so that the soloist can pleasurably control and mould the desired tonal varieties. Eyes also captivated by the superfine workmanship. Succeeded by son Karl Albert, Junr. £12, £15, 1960.
NÜRNBERGER, WILHELM
Established at Markneukirchen 1920. Mainly trade violins. Various old master models, and all details neatly finished.
NÜRNBERGER-SUESS, AUGUST
Born at Markneukrchen 1875. Studied bow making with his father Adolf and grandfather J. C. Suess the latter urging him to keep the name of Suess alive by adding it to his own as a son who would have done so was killed in America. Established at Novato (California) since 1912. Artist bows for all stringed instruments. Each production distinguished for gracefulness and strength. Heads most artistically shaped according to the various types copied. Every phase accurately attended to, consequently a delight to use. Finest well seasoned Pernambuco wood, and superbly mounted in silver or gold.