WAGNER, JOHANN
Born 1703. Worked at Borstendorf. Died 1762. Brother and pupil of Christian. Fair modelling but lustreless varnish. Excellent tone wood. Viols show slightly superior design and workmanship.

WAGNER, JOSEPH
Born 1729. Worked at Constanz (Baden). Died 1781. Some specimens remind of the Tyrol school, others have Amati characteristics. Outline delicately edged, sound-holes fairly attractive and neat purfling. Workmanship indicates thorough capability. Wood chosen with a complete understanding of what is wanted. Scrolls always cut from pear wood, on this account recognition of his work is comparatively easy even when unscrupulous dealers replace the label by one that “makes more of a song”.
-------------------------------
Me Fecit Joseph Wagner
Constantiae 1768
-------------------------------

WALKER, JOHN
Born 1876. Died 1958. Resident at Solihull (near Birmingham). Adroit modelling, 40 violins made up to year 1948. Splendid amber oil varnish. Tone equal to any contemporary.
--------------------------
John Walker
Solihull, Birmingham
Fecit anno 1951
--------------------------

WALKER, JOHN
Lived at Martley (Worcestershire). ’Cellos of mediocre modelling and untutored workmanship. Dark varnish of wretched quality on very good wood. Village enthusiast who apparently satisfied the locals.
------------------
John Walker
Martley, 1837
------------------

WALKER, WILLIAM
Hairdresser and tobacconist at Mid Calder (Scotland), 1920. Resident at Broxburn, 1928. Born 1859. Practically self-taught. Produced over 150 instruments on Stradivarian and Guarnerian models. Style and workmanship deservedly appreciated, quite equal to professional handicraft. Orange red, dark orange red, ruddy brown and ruby shades of varnish, much varying in quality. Succeeded in arriving at a decidedly satisfactory tone.
----------------------------
William Walker. Fecit
Broxburn. Anno 1929
----------------------------

WALTON, WILLIAM
Born at Longton, near Preston (Lancashire), 1860. Retired stationmaster. Selftaught in violin making by study of all obtainable literature on construction and tone. First instrument dated 1887. Ultimately became a professional maker. Original modelling, outline favouring the Stradivarius, Guarnerius brought in for the arching, and Amati signalised in the scroll. Workmanship details all carefully attended to; sound-holes slightly wider than usual at lower part of stem just previous to the turn. Purfling accurately executed. Vigorous looking scrolls masterly carved. Well seasoned wood and an excellent amber oil varnish of own composition, red or brown shades with yellow ground. Tonal quality thoroughly reliable in strength, clarity, equality and quick responsiveness.
----------------------
William Walton
Maker
Longton, Preston.
A.D. 1900 No 12.
----------------------
(brownish paper)
Also made bows but never stamped them with his name. £45, 1960.

WAMSLEY, PETER
Worked in London, 1715-1751. Chiefly copied the Stainer pattern but occasionally turned his attention to the Stradivarian. His reputation (great in his day) has suffered in consequence of his deplorable and reprehensible practice of thinning the wood, and using the various chemicals for artificially tone-ageing his instruments, consequently the tone is now weak and hollow instead of being healthy and strong. We are the more sorry to have to deprecate his sactifice of posterity to the fleeting present of popularity, because his workmanship at times was so extraordinarily good and the model has the essence of gracefulness (though several specimens are indifferently proportioned in having slovenly cut and ugly-straight sound-holes). Three varnishes: a brilliantly thick dark red, a yellow brown of poor quality, and a reddish brown, the latter generally reserved for best instruments. Invariably prettily marked material for backs. Frequently traced ink lines round the instruments rather than be bothered with inlaying. These almost diseased and inwardly ruined violins seldom realise a good price. Made guitar shaped violins and rather valuable viols. ’Cellos highly prized because they are substantially built. Double basses also brought forth his best skill; splendid red varnish. Violins, £60; ’cellos, £100, 1960.
---------------------------------------
Made by Peter Wamsley
at ye Golden Harp in Pickadilly
London
1727
---------------------------------------
(incuriously uneven type)
--------------------------------
Peter Wamsley
Maker at the Harp
and Hautboy in Picadilly.
17 London 51
--------------------------------
Some instruments bear Stainer labels.

WARD, GEORGE
Worked at Dublin, 1710-1750. A maker of undoubted ability. Several instruments quite superior to those of Perry. Original model with perhaps a slight infusion of the Stradivarian. Very handsome wood and beautiful varnish. Specimen preserved at Dublin Museum.
------------------------
Made by
George Ward
In Angelsey Street
17 Dublin 19
------------------------

WARRICK, A.
Born 1863. Best pupil of Chanot at Manchester. Worked at Leeds from 1889. Various models but principally Stradivarian and Guarnerian. Expert designing and masterly workmanship. Varnish of own preparation four shades, yellow, reddish yellow, brownish red and ruby. Won gold medal at Leeds Exhibition, 1895.
-------------------------
A. Warrick
Elève de Chanot
No 36. Leeds. 1898
-------------------------
-----------------------
A. Warrick
Pupil of Chanot
Leeds Anno 1915
-----------------------
(bearing designs of medal, also signature)

WASSERMANN, JOSEPH
Worked at Znaim (Moravia), 1785-1815. Conscientious, clever and industrious maker. Followed Italian prototypes, mostly Amati. Elegant and medium sized model. Frequently one-piece backs of rather plain figure. Orange brown and yellow brown shades of vainish carefully applied. Tonal quality smooth and responsive, but not brilliant. Also violas of rather noble form. £36, 1928.
----------------------------------
Josephus Wassermann
Lauten und Geigenmacher
in Znaym, 1785.
----------------------------------

WATSON, FRANK
Born 1866. Resident at Rochdale (Lancashire), 1895. Artistic modelling, no imperfections. Produced about 200 instruments. Graceful sound-holes and generally orange varnish. Strong tone in a condition of abeyance, awaiting the years and playing to mature it.
--------------------
Frank Watson
Violin Maker
Rochdale, 1905
--------------------

WATT, WALTER
Born 1787. Died at Shenval (Glasgow), 1826. Much talked of in the West of Scotland as a fair player of strathspeys, maker of violins suitable for such purposes, and as a poet.

WATT, WALTER
Worked at High Blantyre (Scotland), 1880-1890. Quiet designs, somewhat Stradivarian. Dark red varnish not always attractive.

WEBB, ROBERT J.
Born at Barry (South Wales), 1914. Worked in London. Died 1950. Generally Strad modelling, every detail beautifully traversed. Varnish of own formula, golden-brown or reddish-brown. Valued at £60 to £100 in 1950. Unfortunately, not many specimens owing to early death. Tertis model violas also magnificently constructed.
-------------------------
R. J. Webb
Violin Maker
London, Dec. 1949
-------------------------
(with signature)

WEICHOLD, RICHARD - see AUG. PAULUS
Born 1823. Pupil of Pfretzschner at Markneukirchen. Worked at Hamburg. Settled at Dresden. Died 1902. Produced all classes of instruments, but specialised in making artist bows, contributed many magnificent specimens for the comfort and skill of the principal virtuosi, and richly decorated ones for the aristocratic amateurs in that populous neighbourhood. Bows £10 to £15, 1960.
---------------------------------
Richard Weichold (Paulus)
Dresden
---------------------------------
Formulated a new process for making “tested perfect fifth” strings, 1860.

WEIDHAAS, PAUL
Born 1897. Worked at Markneukirchen, 1935. Accurate reproductions of the old master bows. Carefully selected pernambuco, hexagonal and round sticks, light and dark shades. Best specimens five guineas, 1934. £10 to £12, 1960.

WEIDEMANN, RICHARD
Worked at Wiesbaden, 1887-1925. Stradivarian and Guarnerian modelling. Prettily worked instruments entitled to respect. Noteworthy wood treated to an attractively transparent oil varnish to which is imparted beautiful shades. Brought out a new model in 1916, having sound-holes developed to some original calculations, and resulting in a remarkably easy-speaking tone as well as increased mellowness.

WEIGERT, JOHANN BLASIUS
Worked at Linz (Austria), 1719-1752. Medium high and not consistently proportioned. When viewing them we have a suspicion that the tone will not even approach ordinary decency, and when playing on them we are immediately convinced of the fact. Brown varnish too does not reduce censorious opinion. Flamed maple for the backs brings forward a less reproachful criticism.

WEISS, EUGENIO
Professor of the violin at Trieste, 1880. Followed incipient fancies, dreamed a little of the Cremonese, made efforts to emulate them, had a few failures, went through further excogitation, and ultimately satisfied his fondest expectations with some finely constructed violins. Tonal quality astonishingly flexible. Fine wood setting off the warm transparency of golden-yellow varnish.

WELLER, FREDERICK
Left a violin in his teens, it inspired him to make one of his own. His first efforts, single-stringed affairs fashioned from cigar boxes, quickly led to more ambitious models. He devoted all his spare time to the craft of violin-making. By the twenties he was using his own instruments when he played in orchestras and dance-halls as he frequently did in those days, and had begun to sell one or two to musicians in the district. Worked in a little shed at the bottom of his Surrey garden, he sometimes took two years to make an instrument. Principally Strad and Guarneri models, also modifications of a Joseph Rocca. Some 20 years later, a chance encounter with a violinist from the Covent Garden Royal Opera House brought him enough orders to enable him to give up his “safe” job as local coffin maker. This violinist, shown a Weller violin, asked to take one on approval, and this resulted in an order for eight more. He therefore became a full-time fiddle maker, and up to 1952 had completed 200. Experimented 30 years with various oil varnishes and colours, ultimately using one of his own formula - golden-brown, nut-brown and chestnut. A maker who really dedicated his life to the art, working to thought and inspiration rather than to eventual value.

WENGER, GREGORI FERDINAND
Born at Vienna, 1677. Supposed to have worked in early years at Venice and Salzburg. Few instruments dated from these places, and possibly not genuine as it has never been accurately ascertained he was ever there. Worked at Augsburg (Bavaria), from 1720. Died 1757. Very best maker of his time in that district. Principal model reminds of a Stainer and Albani, but has certain little originalities in outline and other minor details, perhaps slightly broader and not so fully arched. Half circular lines straightened out at the necks and blocks. Middle bouts very graceful. Purfling placed quite close (3-1/2mm) to the edge, giving the back of instrument a particularly neat appearance. Generally deer grooving near the edge affording an optical illusion that the arching is unduly high. Small and insignificant scroll - peg box very narrow and sometimes with painted arabesques on the sides. Often fanciful heads of angels, lions, and bears. Sound-holes not especially attractive with their straightish stem. Nice, even grain belly wood, and usually rather plain material (well chosen) for backs. Varnish of good constituency, dark brown, also a pretty lighter brown, rich orange-red and bright red. Tonal quality moderately warm and pleasant, never penetrative, and sometimes dull and thick on third string. Also built a few on semi-Amatese plan of longish outline and medium arching, and still fewer on the Maggini model on which he exercised undeniable skill in double inlay. Violas and ’cellos better toned than the violins. Produced many fine lutes and theorbos.
------------------------------------
Gregorius Ferdinand Wenger
Lauten und Geigenmacher
fecit Augustae. 1746
------------------------------------
Instruments dated after 1757 are those left by him and finished by other hands. Italian writers have distorted the name to Vinzer and even Singer. £85, 1960.

WERNER, FRANZ EMANUEL
Born at Scbönbach. Worked many years for Richter at Vienna. Established own place there 1909. Died the following year. Copied the Stradivarian design with frank affection. Workmanship answers all the dictates of neatness. Effective reddish-yellow varnish.

WERRO, JEAN
Born in Montelier, near Morat in Switzerland, 1868. Died 1938. Made first acquaintance with the violin maker’s art in Geneva with the well-known Leon Fischesser. After various joumeys in France and Germany he started his own business in North London (England). In 1914 he returned to his native country, Switzerland, and established himself after nearly a quarter of a century, at Berne with the help of his eldest son Henry who in the meantime, had finished his studies in the art of violin making. His violins are extremely scarce and he occupied himself chiefly with repairs and the sale of instruments. Considered a very good repairer and judge of old instruments and was held in much esteem by his colleagues. The few violins he made are built on the Strad model and have a varnish of a light orange-golden colour. Obtained the highest award and gold medal at Geneva 1927, together with son Henry.

WESTON, ARTHUR T.
Born at Lake City (Minnesota), 1858. Resident at Minneapolis, 1927. Died 1943. Practically self-taught, and seemed to grow into the art quite naturally. Became a skilful copyist of the Guarnerius model. Produced 165 specimens. Varnish of various shades, own preparation. Lived in a paradise when looking at or listening to one of his creations, and received as much as 500 dollars for a specimen - something materially more convincing.
-------------------------
A.T. Weston
Maker
Minneapolis, Minn.
No. . . . A.D. . . .
-------------------------
(slight decorative border)

WHITE, ASA WARREN
Born at Barre (Mass.), 1826. Worked in early days for Henry Prentiss. Formed a partnership with his brother Ira at Boston, 1849. Died 1893. Recipient of a gold medal at the Massachusetts Fair. Made a large number of violins on Stradivarius and Guarnerius models, designs and workmanship consistent with what is usually denominated good. Also produced several violas, ten ’cellos, three viol-da-gambas, and two nicely worked viol d’amours. Generally golden-brown amber varnish. ’Cellos catalogued at 200 dollars. Author of “The Violin - How to Construct from Beginning to Completion” (Boston, 1892). 44 pages of inadequately presented matter. The page on the art of varnishing informs us that “the new violin must be stained with strong coffee, and then painted before varnishing with Windsor (sic) and Newton’s oil colours, bitumen, burnt sienna, carmine, and gamboge”. Also contains a very incomplete list of makers which is full of absurd errors.

WHITE, IRA J.
Born at Barre (Mass.), 1813. Son of John. (The first violin-maker in that State, first instrument made 1802). Youthful precocity asserted itself in 12th year when he watched his diligent father. Took wood from a door casing, cut some material for the scroll from a curly apple tree, went up to the garret after school hours, and secretly worked with nothing but shoe tools. This first primitive attempt decided his career. Went to Boston, 1829. Died 1895. First period instruments belong to a model more or less original, and are of little consequence. Second period specimens inspired by a Stradivarius he had bought in 1851 for 1,000 dollars. These splendidly conceived and well-worked examples brought him to be ranked as the best maker of that period in America. Received favours from famous violin virtuosi who played on his instruments when visiting the U.S.A. - Vieuxtemps, Ole Bull, Sivori, and Artôt. In 1864, he changed the modelling to that of a Nicolo Amati.

WHITMARSH, EMANUEL
Originally a stonemason. Self-taught in violin making. Worked in Berwick Street, London, 1856-1885. Repaired for various dealers. Moved to Kentish Town Road, 1885, and to Hackney, 1887. Established at Dalston, 1908, when he had the assistance of his son, Edwin. Made a prolific number of violins, usually catalogued at four to ten pounds. Various models, and various shades of spirit and oil varnishes. Awarded medal at the Inventions Exhibition, London, 1885. £60, 1960.

WHITMARSH, EDWIN
Son of the above. Wood not always attractive and workmanship not so refined as that of father, seeming to be hurried.

WIDHALM, LEOPOLD
Born 1722. Worked at Nürnberg from 1747 to 1786. Prolific maker who favoured the Stainer model yet managed to infuse some originalities. Sometimes overdid the arching, but more frequently realised a very elegant medium gradient, and occasionally fancied the flatter style. General measurements of broad pattern - body-length 14-3/8 inches; upper bouts 6-3/4; lower 8-1/4. Carefully chosen wood, plates sometimes too thinly worked, and generally two-piece backs of finely flamed material. Neatly inserted and broad purfling. Scrolls or fancy-heads (mostly of pear wood) faultlessly carved. Sound-holes sometimes ungraceful and wide open. Varnish has a touch of the Italian, that of the later instruments being superior to the earlier, and of a lovely brownish-red shade which he made lighter or darker as fancy dictated, highly brilliant and richly transparent. Varying tonal quality, sometimes weak and played-out type, others large and without clarity, but mostly of good responsiveness and warmth. £40, 1928. Also excellently copied the Maggini model with double purfling, varnish of deep yellow shade. Some instruments have an ivory edge. Beautifully arched violas, body length 15-1/4 inches, workmanship with artistic enterprise, and noble tonal quality. Also ’cellos, medium high, handsome wood, red varnish. A few magnificent double-basses are known. Instruments dated after 1804 made by his son, G.I. Those dated 1789-1805 generally attributed to M.L. Produced various forms of lutes.
----------------------------
Leopoldus Widhalm
Norimbergae, A. 1770
----------------------------
(decorative border and Imperial Eagle)
----------------------------------------------------
Leopold Widhalm, Lauten und
Geigenmacher in Nurnberg, fecit A. 1768
----------------------------------------------------
“L.W.” branded inside underneath label, and frequently the Imperial Eagle added at the side. £90, 1960.

WIDHALM, MARTIN LEOPOLD
Born 1747. Eldest son of Leopold. Worked at Nürnberg. Died 1806. Took over father’s business, 1787, and henceforth omitted the Christian name, Martin. Workmanship generally equal to that of father. Varnish sometimes inferior, but best specimens have a wonderfully transparent garnet red. Used (for cheaper violins) a spirit varnish (gums dissolved in alcohol) of brownish shade. Scrolls characterised by having a particularly broad and protuberant boss, much differing from those of father’s instruments. £75, 1960.
----------------------------------------------------
Leopold Widhalm Lautten und
Geigenmacher in Nürnberg, fecit A. 1789
----------------------------------------------------

WILD, FRANK
Born at Rochdale, 1869. Amateur. Convincing approach to both the Strad-Amati and Grand-Strad patterns - varnish handled with skill. Good tone with no breakdowns in upper register of either string.

WILKANOWSKI, W.
Born in Poland, 1886. Made first violin in ninth year. Became fully fledged maker at the age of 17. Went to U.S.A. Worked for Oliver Ditson Co., 1920, and for Gretsch Co. (New York), 1938. Said to have made 5,000 violins, 100 violas, and 30 guitars up to the year 1945. Cremonese models. Oil varnish of own formula, made from amber. Golden-brown shaded to reddish-brown. Usually a penetrating tone.

WILLER, JOHANN MICHAEL
Born at Vils, 1753. Worked at Prague from 1780. Head of the Guild, 1825. Died 1826. First period violins belong to the Stainer model with full arching but also without exaggeration. Light brown varnish not especially transparent, also a nut brown, richer and of softer texture. Belly wood of fine grained spruce slightly figured, and generally one-piece backs of large figured maple cut slab fashion. Tonal quality pleasingly responsive but with little real strength. 300 dollars, U.S.A., 1930. Second period violins have Stradivarian outline and medium arching, but with a slight groove near the edge so typical of Bohemian instruments. Splendid purfling placed very close to the edge. Sound-holes rather Stradivarian in curvature, but slightly more on the slant. Attractive scroll, rather wide from back to front and not deep, thereby bringing a wide opening at the throat. Workmanship quite satisfactory even to very critical eyes. Yellow spirit varnish or a prettier one of brownish shade, neither especially lustrous. Tonal quality rather full and strong in slow passages, but not brilliant or far-carrying in quick runs. £40, 1930. Also cleverly imitated the Maggini model occasionally. Frequently commissioned to supply white polished violins which were afterwards falsely labelled, £90, 1960.
----------------------------------
Johann Michael Willer
Lauten und Geigenmacher
in Prag. 1783
----------------------------------
(German lettering)
-----------------------------------------------------
Johann Michael Willer
Musikalischer Instrumentenmacher in Prag
1806
-----------------------------------------------------
(Apollo emblem in middle)

WILLIAMS, FRED C.
Studied with Pezzoni at Elkhart (Indiana). Worked for Conn & Co. Established own place at South Bend (Indiana), 1923.

WILMET, F. J.
Worked at Antwerp, 1740-1746. Very arched modelling. Few specimens seen.

WILSON, R. J.
Born 1887. Resident at Edinburgh (Ohio). Good copies of Dolphin Strad. Attractive oil varnish.

WINKLER, FRANZ
Bow maker. Products much recognised, 1921. Original model (known as the Winkler), also imitations of the Tourte and Voirin. Impressive and artistic, perfect balance, round and octagonal sticks; those of dark chocolate colour generally gold mounted. £20,1960,

WINTERLING, GEORG
Born 1859. Worked at Frankfort, Dresden and Vienna. Assistant to Pfab at Hamburg. Won diploma at local exhibition, 1889. Established own shop there, 1890. Settled at Planegg-Krailling (near Munich), 1920. Hamburg shop carried on by his many years’ assistants, Anton Schreiber and Anton Lugert. Instruments yielding highly satisfactory tonal results. Perfect design which clever manipulative care has fully developed. Equally happy in wood and varnish.
--------------------------------------
Anno 1893. Georg Winterling
Hamburg
---------------------------------------

WITHERS, EDWARD (1)
Born in London, 1808. Bought the William-Davis business in Coventry Street, 1846. Had several French assistants. Died 1875. Splendid models of the Stradivarius and Guarnerius. Contour as intoxicatingly beautiful as the originals. Oil varnish of fine texture and transparency. Tonal quality far-carrying and fruitful in mellowness. £30, 1930. £80, 1960.
---------------------
Edward Withers
London
----------------------
(beautifully scrolled)
Made two violins, viola and ’cello with backs of a wondrously flamed maple accidentally found in the attic of his shop, pronounced the finest quartet in England.

WITHERS, EDWARD (2)
Born 1844. Son and pupil of preceding. Also had guidance from John Lott. Worked twenty-four years with father. Moved to Wardour Street. Appointed maker to the Duke of Edinburgh, 1893. Died 1915. Capable executant on the violin, viola and ’cellos. Produced about twelve instruments yearly. Copyist of the Stradivarian and Guarnerian models. Designs and workmanship not uniformly artistic and flawless, but occasionilly reached great heights, and these superb specimens have realised £50. Made many formulas for varnish before absolutely satisfying himself with one entirely of oil, varying in colour from yellow to brown and red to golden red, rather rich and brilliantly transparent. Had a somewhat unique method of applying it, thus - gave the wood a few coatings of amber varnish, allowed the instrument to hang for a few years so that there should be no uncertainty as to the drying, and then put on the particular shade (also oil) desired. Tonal quality sometimes rather disappointing, but certain specimens have luckily come through with a finely telling and strong emission. Several violas and ’cellos. Inventor of a “prepared hollow soundpost” for ameliorating the tone, also a “tubular bass bar”. Discoverer of “new voicing” to increase the freedom of the vibrations. Three sons received a thorough training in the craft and contributed much to their father’s prestige; Edward Sidney Munns, born 1870, Sidney Bernard (1873), and Douglas Sidney (1894)
------------------------
Edward Withers
22 Wardour Street
London
------------------------
(scrolled border)
--------------------------------
Edward Withers
22 & 22a Wardour Street
Leicester Square
London, W.
late of 31 Coventry St.
--------------------------------
(smaller lettering, and without scrolling)
£90. ’Cellos, £150, 1960.

WITHERS, GEORGE
Son of Edward Withers (1). Worked with father for number of yeays, then established own place in St. Martin’s Lane, London, subsequently moved to larger premises in Leicester Square. Business carried on by two sons since 1900, Guarnerius (excellent violinist) and Walter George; both trained in constructive and repairing art at Mirecourt. This famous firm ceased to exist, 1933. Stradivarian and Guarnerian modelled violins; four grades. £10 to £21. Splendid type of orchestral instruments, plenty of power, brilliant and equal on the four strings, nothing harsh or woolly. Oil varnish generally of reddish colour. Two grades of violas, and three grades of ’cellos. Violas made by “old George” when working at St. Martin’s Lane have the attributes of Cremona work, body length, 16-1/4 inches
---------------------
George Withers
London
---------------------
------------------------------
Oil varnished No. . .
George Withers & Sons
Leicester Square
London 19-
------------------------------
(bearing design of a violin, lyre, music, etc., with sun in background)
Also an excellent productivity in bows. Stamped “G. W. & S.” or “George Withers & Sons”.

WITHERS, JOSEPH
Born at Poplar (London), 1838. Made first instrument in 1856. Worked for James Brown the younger, at Spitalfields, 1869. Rented a shop in Caledonian Road, North London, 1879. Won first prize at Westminster Exhibition. Produced 150 violins, 12 violas and a few ’cellos. Most specimens inspired by the Messe Strad. Outline shows the hold that Art had on his intelligence, the curvatures affording pure gratification to the eyes. Arching slightly deviates from that of prototype. Good margins and nicely finished corners. Proportions splendidly accurate, also admirable thicknessing of belly and back. Scroll, though of bold design, is delightfully proportionate to the rest of the instrument. Sound-holes well slanted and subjected to the laws of simple elegance and graceful proportion. Neatness and steadiness characterises the purfling. Varnish not fascinating, but also not without merit. Responsive and reedy tonal quality, not unlike the Vuillaume timbre. £75, 1960. Label of his last violin:-
-------------------------
Made by
Joseph Withers
aged 80 years
London A.D. 1918
-------------------------

WITTMANN, ANTON
Born 1878. Worked at Linz, 1892; and at Vienna for Stübinger, 1897. Established own shop at Vienna, 1910. Instruments of masterly design. Details minutely developed by a conscientious mind. Oil varnish of fine shade, transparency and consistency.
--------------------------------------------
Anton Wittmann
Geigenmacher. Wien in Jahre 1923
--------------------------------------------

WOLFF BROTHERS
Known as “Gebruder Wolff” in Germany. Factory established in 1864 at Kreuznach (Rhenish-Prussia) by Leopold (conductor of the Kur Orchestra at Bad Münster) and Ferdinand Wolff. These founders retired in 1912, business devolved on Leopold’s son Julius (subsequently lost his life in the war). Traditions of the firm carried on by Fritz Mansbacher, 1922. Splendid class of “trade” violins, violas, ’cellos and basses. Every instrument subjected to “special tonal improvement” supposed to be their secret. Many instruments dated as though emanating from London, Wolff Brothers having a branch there from about 1885, and for 25 years their products had enormous popularity throughout the British Isles. £25, to £50, 1960.
-----------------------------
Wolff Bros.
No. 301. London 1905
-----------------------------
-----------------------
Gebrüder Wolff
Patent. Creuznach
-----------------------
Inventors of a “mute violin”, 1888; consisting of a mahogany frame without top or bottom plates, otherwise similar to the ordinary violin, a practising article, not absolutely silent but soft-toned and sufficient for the player to test his tone and bowing.

WULME-HUDSON
see HUDSON.

WUNDERLICH, FRIEDRICH
Born at Zwota, 1876. Studied bow making with Nürnberger. Established at Markneukirchen up to 1898. Subsequently went to Leipzig. Working there 1925. Magnificent bows, all parts done personally and by hand - usually follow the Tourte model but other celebrated types likewise successfully imitated. Sticks polished without shellac resin, so that they can be cleaned with alcohol without losing their polish. Strongly constructed saddles with an improved ferrule. Particularly robust heads, fine wood and faultless workmanship. £15 to £20, 1960.

WUNDERLICH, GUSTAV
Born 1872. Pupil of Karl Köhler at Schönbach. Worked at Berlin. Settled at Leipzig, 1897. Instruments which emulate the Cremonese in design, workmanship and varnish. Patented a new bow, 1926. Made “the smallest quartet of instruments in the world”.

WURLITZER, RUDOLPH
Born at Markneukirchen, 1873. Descendant of a family of violin makers dating from 1700. Went to U.S.A. and opened premises for violin dealing at Cincinnati, 1856. Ultimately became the greatest firm in America for branches in all the important cities. Died 1948.