ODDONE, CARLO GIUSEPPE
Born at Turin, 1866. Pupil of Rinaldi. Worked in London for F. W. Chanot and Carlo Andreoli, 1898-1901. Established at Turin, 1901. Died 1936. Clever copyist of the Stradivarius and Guarnerius models, also adopted one of his own, and occasionally imitated Rocca. Exceptionally well built instruments with every detail carefully finished. Splendidly chosen wood. Backs of strong figure. Generally dark red varnish rather greasy looking, but there are a few with a transparent orange colour. Fine tone, brilliant and clear, particularly suitable for orchestral work. £50 (1927). Constructed 300, all numbered on the label. Also branded on tailpiece pin. £175, 1960.
OLIVER, FREEMAN ADAMS
Established at Boston (U.S.A.), 1886-1898. Stradivarian modelling with slight variegations. Altogether an interesting design with considerable freedom of conception. Well rounded and graceful curves. Attractive wood, splendidly varnished.
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Freeman Adams Oliver
fecit Bostonia anno 1897
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OLRY, J.
Pupil of Georges Chanot. Worked at Amiens (France), 1825-1860. Variable in workmanship, some instruments quite excellent, others heavy in design and altogether commonplace. Best work conspicuously follows Stradivarian modelling everything well conceived. Occasionally medium arched modelling. Wood frequently of pretty flame. Scroll generally rather dignified. Yellowish or brownish red varnish of good texture. We do not participate in the ardent admiration exhibited by some French players regarding the quality of tone. Best specimens valued at £25. Inferior instruments often with dark red varnish. £12.
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Olry, Luthier, rue des Trois
Cailloux, No. 49. à Amiens, 1833
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Some labels give Paris as the place of construction, a practice not uncommon in France, to impress certain buyers uninitiated in the mysteries of fiddle trading.
OMOND, JAMES
Born 1833. Clock maker. Died 1907. First instrument dated 1872. Produced 300 violins, violas and ’cellos. Strad and Guarnerian modelling. Wood generally too thick. Amber varnish of various shades. Tonal quality often muffled.
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James Omond
Stromness. Orkney.
Scotland. 1893
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James Omond
Stromness. Scotland
A.D. 1904
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(copper-plate lettering)
ORLANDINI, A.
Born 1909. Worked at Leonardo (near Parma). Won diploma of honour at Cremona 1949. Attractive individualistic modelling.
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Archimede Orlandini
fecit in Parma
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(with signature)
ORNATI, GIUSEPPE
Born at Albairate (Milan) 1885. Son of Carlo. Pupil of Bisiach. Worked at Milan 1915. Gold medals at Rome (1923), and Milan (1924). Excellently free treatment of Stradivarian or Guadagnini models, also one with original deviations from the orthodox. Superb workmanship in all details. Oil or spirit varnish, golden-brown and an especially transparent brownish-red. Refreshing tone far from new.
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Giuseppe Ornati
fece in Milano anno 1926
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(G.O.M. within floral wreath on right, and signature)
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G.O.M. Giuseppe Ornati
fece in Milano Anno 1923
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(with signature)
Also branded “Giuseppe Ornati. Milano”. within an oval. £80, 1960.
ORSELLI, ENRICO
Born 1891. Pupil of Soffritti. Worked at Pesaro. Produced up to year 1949, 180 violins, 200 violas, 80 ’cellos and 8 double-basses. Fine Strad or Guarnerian modelling. Beautiful golden-yellow varnish on reddish base. £95, 1960.
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Orselli Enrico
discepolo di Soffritti Ettore
de Ferrara frce in Pesaro 1949
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Orselli Enrico di Ferrara
fecit in Pesaro 1910
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Orselli Enrico alunus
di Ettore Soffritti di
Ferrara fecit Pesaro 1942
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Orselli Enrico feccit
in Pesaro 1923
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Enrico Orselli
Liutaio
Pesaro 1948
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ORY, FRANÇOIS
Worked at Paris, 1790-1814. Generally of rather massive proportions, with all parts harmoniously balanced, flattish modelling. Dark brown varnish not particularly transparent. Strong tone with very slight appeal of sweetness. Often onepiece backs of effectively flamed material. Known for several splendid guitars.
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Ory
Luthier à Paris, 1790
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Sometimes branded “Ory à Paris” in block letters. £75, 1960.
OTTO, CARL WILHELM FRIEDRICH LOUIS
Fifth son and pupil of Jacob August. Born at Jena, 1808. Worked at Hamburg, Amsterdam, Copenhagen, Gothenburg, and finally Stockholm. Died there, 1884. Influenced by and concentrated on the art principles emanating from his father’s genius. Modelling and workmanship without a flaw. Managed to infuse a kind of ltalian tone, not large, but rather penetrating, and clearly mellow. Made as many violas and ’cellos as violins, the former being much sought after.
£80, 1960.
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C. W. F. Otto, Goothburgi
Faciebat Anno 18. .
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(name in prominent black lettering)
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C. W. F. Otto
Saiten-instrumentenmacher
Stockholm
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Verfertigt von
C. W. F. Otto
Stockholm
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OTTO, WILHELM
Son, pupil and successor of Louis. Born 1875. Established at Dusseldorf, 1900. Modelling either after Stradivarius or Guarnerius. Construction of the exterior very accurate and elegant. Scroll and sound-holes particularly fine. Oil varnish usually.
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Wilhelm Otto fec
Dusseldorf 1928
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(W circled)
OUCHARD, EMILE A.
Born at Mirecourt, 1900. Son and pupil of E.F. Worked at Paris, 1940-1946. Awarded gold medals at several French Expositions. Went to the State of Illinois, 1946. Magnificent bows with beautifully carved heads, perfect balance, and superb sweep of stick, finely selected pernambuco wood, mounted in silver or gold. Lewis & Son (Chicago) chief distributors. Stamped “Emile Ouchard”.
OUCHARD, EMILE FRANÇOIS
Born 1872. Bow-maker. Established at Mirecourt, 1924. Successor to the business of Cuniot-Hury. Died 1934. Intimately and thoroughly understood the needs of a soloist. Delightfully balanced and beautifully finished bows, at the reasonable prices of two and three guineas (1928). Awarded several gold medals. Stamped “Emile Ouchard”. £10, 1960.
OWEN, JOHN WILLIAM
Born at Leeds, 1852. Apprenticed to the engineering trade, but health gave way under heavy manual labour. After convalescence he took up violin repairing as a hobby, and became thoroughly enthusiastic. Bought books, gleaned several theoretical principles, chatted with local fiddle makers, also went to France to gain further insight into the art. Produced first instrument 1884. Called his residence “Amati House”. Built about 200 violins, violas, and ’cellos; and repaired over 4,000. Died 1933. Modelling after Stradivarian and Guarnerian principles, also one combining the two. Splendid outline, body length 14-1/8 inches. Nice curvatures all round, width across upper bouts, 6-5/8; middle, 4-3/4; lower, 8-1/4. Arching finely conceived and graduated. Full and strong edges, slightly turned up and smoothly rounded. Artistically designed waist curves, three inches from corner to corner. Depth of ribs, 1.9/32.
Sound-holes have no claim to novelty, but have the happiest effect in being of a fine long sweep, not too slanting, perfect graduation to centre of stem, and carefully finished wings. Solidity specialises the scroll, the fluting and broad curvature to the boss being very noteworthy. Inside work geometrically exact, all thicknesses properly and scientifically accomplished. Belly wood of strong reed, and backs of the usual figured material. Oil varnish of own formula, various shades from yellow to deep red, transparently brilliant. Tonal quality finely healthy, of bell-like clarity, completely even from bottom to top, and beautifully maturing with each successive year. Violas of similar characteristics. ’Cellos generally of fine proportions, and more arched than the violins, but there are a few specimens where the curve to the corners leaves soniething to be desired. Several double-basses of good orchestral tone. Excellently balanced bows bear his name. Label - artistically designed representation of a horizontal sound-hole, clefs and staves on the left, monogram on the right, and name along the middle:
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J. W. Owen
Maker
Leeds
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Date not on the label, but written on the bare wood after his signature. Played the violin since childhood, also had many pupils on the instrument, and was in considerable demand as an orchestral player. Studied harmony and composition from an early age.