STRNAD,Caspar.—Prague. Died 1823. Fine red varnish, pattern usually that of Stradivari. He used several different labels, engraved with musical instruments and other devices.STROBL.—Eighteenth century. There were at least three makers of the name. Two named Johann worked in Hallein, and a third named Tobias in Krems.STUMPEL, H. C.—Minden. Born 1838. A maker who produced instruments of various models, built according to a system of thicknessing of his own. He used a label bearing a diagram showing a violin belly graduated according to his method.STURTZER, or STURZER.—Breslau. Eighteenth century. Two makers named Johann Michael Sturzer worked in Breslau.SÜSS,Johann Christian.—Markneukirchen. Died 1900. Worked for a time in Dresden. He was one of the best bowmakers Germany has produced.SULOT,Nicolas.—Dijon; about 1820-40. Took out a patent for a violin with a double belly.SUTOR,Johann Martin.—Vienna. Died 1758. Examples scarce, and little known.SUTTERLEIN,J. Friedrich.—Strasburg. Died 1893 or later. Careful work. Stradivari pattern. Pretty varnish. He came under the notice of the artist Wilhelmj, who thought highly of his abilities.SZEPESSY. See Bela.TADOLINI,Ignazio.—Modena. Born 1797; died 1873. Known only as a bow-maker, in which department he excelled. A brother—Giuseppe—seems to have made a few instruments.TANEGIA,Carlo Antonio.—Milan; about 1720. Grancino style. Examples scarce.TANINGARD,Gio. Giorgio.—Rome; about 1730-1750. Possibly worked with Tecchler. He used various labels.TARR,William.—Manchester. Born 1809; died 1892. This maker is chiefly known amongst English double-bass players, but made smaller instruments also. The basses are often excellent, and are in high esteem amongst Northern and Midland contrabassists.TASSINI,Bartolommeo.—Venice; latter half of eighteenth century. The backs of his violins are usually in one piece, and the wood is often handsome. Varnish a clear golden yellow.TAYLOR,William.—London; eighteenth and early nineteenth centuries. He was a good average workman, and made useful instruments of the Panormo class. He is said to have been taught by Panormo. The writer has met with a few good violas of his make, but he seems to have made more double-basses. Varnish yellow or yellow brown.TECCHLER,David.—Salsburg, Venice, Rome. Born 1666; died about 1745. An important and prolific maker. He seems to have had a large business in Rome, and probably employed a good many assistants. A great number of his violoncellos are in existence, and are generally of high merit. They were of large pattern, but have frequently been reduced in size. In his best work he caught something of the true Italian style, and he was evidently acquainted with Italian methods of varnishing. But like nearly all of his countrymen, he never succeeded in freeing himself entirely from German notions, traces of which are noticeable in practically all his works. They all hint of Stainer somewhere. A few fine double-basses are in existence. The violas are very scarce. Violins are pretty plentiful, and vary somewhat in finish and general merit. The writer has met with two of these, and one violoncello with the bellies cut the wrong way of the wood, or “slab-wise.” The scrolls are often well carved, and in the violins somewhat slender at the throat. The varnish on the Roman instruments, which are much more plentiful than those dating from Salsburg or Venice,is of Amati character, and generally of yellow-red or yellow-brown colour.TEDESCO,Leopoldo.—Cremona, Rome. Is all but unknown as a maker, but is mentioned in the Parish Registers of Cremona as a pupil of Niccolò Amati. The name seems to be there spelt “Todesco.” He was born in 1625.TENTZEL.—Mittenwald; eighteenth century. Kloz school of work.TERMANINI,Joseph.—Modena; about 1750 and later. Appears to have been a priest who made fiddles. Work rare and of no particular merit.TESTORE.—Milan; seventeenth and eighteenth centuries. A widely known and important family of makers whose instruments, though chiefly of second-class workmanship and inferior finish, are much sought after by players on account of their excellent tone. However rough and unattractive the specimen may appear, a Testore may almost always be relied on to possess a fine tone. Apparently the patronage they were able to obtain did not permit them to do their best save on rare occasions, but there are violins in existence by C. G. and C. A. Testore which prove conclusively that, given the opportunity, these makers were possessed of skill and abilities of a high order. In these rare cases we meet with specimens of good form and finish, handsome wood and brilliant varnish. The average Testore is, however, an instrument which in all or most of these particulars leaves a good deal to be desired. The bellies are almost without exception of pine of the best quality acoustically, but the backs and sides are mostly of plain or small figured native wood, the heads are mean and pinched looking,sound-holes carelessly cut, varnish a dull yellow or dirty brown, and many of them are (or rather were) unpurfled.Carlo Giuseppe Testore, the first of the name, worked between about 1680 and 1710. He was a pupil of Giovanni Grancino, whose label has been found in violins and violoncellos of his make, his own label being discovered by repairers underneath. This happened in the case of a violoncello owned by Robert Lindley. His model varies, but it is absurd, having regard to dates, to class him as an imitator of Guarneri del Gesù, whose earliest fiddles date from about 1725 or a year or two earlier. Such resemblance as may exist between the violins of the two makers is very trifling, and can hardly be said to extend beyond an occasional similarity in the form of the sound-holes. The varnish is usually brown or brownish yellow. In some, but not all, of the instruments a brand mark, representing an eagle, is met with, but the use of the brand is more frequently observed in the work of his son, Carlo Antonio. Carlo Giuseppe made some violoncellos of much merit, the wood of the backs being mostly pear tree or plain material. He is also in repute as a double-bass maker. His elder son,Carlo Antonio, seems to have worked until after 1760, and apparently made more violins than his father. The pattern varies a good deal and it is difficult to say that he imitated any other maker in particular. Most of his instruments are branded inside with the double eagle, sometimes in two or more places. The work is often roughly finished. Bottesini’s favourite double-bass was an example by this maker. A son,Giovanni, worked with him in later years.Paolo Antonio Testorewas the younger son of Carlo Giuseppe. He was at work until after 1760. His violins bear some resemblance to those of Guarneri.Varnish often palish yellow. Instruments frequently unpurfled, especially in the backs, but a good many have been purfled by later hands. He also used the eagle brand, but not invariably. Wood generally very plain.THERESS,Charles.—London; about 1840-1850. Worked first with Maucotel; afterwards on his own account in Soho. Mirecourt style.THIBOUT.—Paris; eighteenth and nineteenth centuries. A well-known family, most of whom worked in Paris. There were about six makers in all. The most celebrated wasJacques Pierre, born 1779, died 1856. He was one of the finest workmen of the French school, and his best copies of Stradivari are less heavy in appearance than those of Lupot and the tone is more Italian in character. The varnish on such specimens is also very handsome: red on a yellow basis. His instruments were made in at least two grades and the better ones now command very high prices. He obtained several medals, and used labels in various styles at different dates. It is much to be regretted that his best personal work is not more plentiful.THIBOUVILLE-LAMY,Louis Emile Jerome.—Mirecourt, Paris. Born 1833. Manufactures stringed and other musical instruments on a huge scale, and of all grades. He has received various medals and employs many workmen.THIR.—Presburg, Vienna; eighteenth century. Nine or ten makers of the name. There were two Antons in Presburg, and two in Vienna. One of the best wasAndreas, who worked in Presburg until about 1798, and copied the form of Amati well.Johann Georg Thirwas established in Vienna until after 1790, and made a good many instruments. Varnish dark brown or dark red. Geissenhof was for a time in partnership with him. Another good maker of the name wasMathias, who was a brother of J. G. Thir and worked until about 1795.THOMASSIN,Louis.—Paris. Born 1855. A clever bow-maker. Voirin style.THOMPSON.—London; late eighteenth century. There were several makers, or rather instrument dealers, in business in St. Paul’s Churchyard. Instruments vary, and the violoncellos are often better than the violins. The latter are generally a sort of mixture of the patterns of Stainer and Amati, with red or yellow varnish, and of no particular character.THOUVENEL,Henry.—Mirecourt; about 1850-1860. Strad pattern; yellow varnish.THUMARDT.—Straubing, Munich; eighteenth and nineteenth centuries. Eight or more makers are named. One of them,Johann Stephan, worked in Straubing until 1817, and his work is of some value.TIEFENBRUNNER.—Mittenwald, Munich; eighteenth and nineteenth centuries. A family who must not be confounded with the Tieffenbruckers who were viol makers. Eight or nine Tiefenbrunners have been engaged in the manufacture of stringed instruments, chiefly zithers. Amongst those who made violinsJohann Caspar, who died about 1769, and worked in Mittenwald, seems to be best known.TIELKE,Joachim.—Hamburg. Born 1641; died 1719. Is said to have made violins, but the only instruments seen by the writer were of the lute or viol class.TOBIN,Richard.—Dublin, London. A fine workman. Was for a time employed by Perry. Afterwards by Betts and other London dealers, besides working on his own account. Made some very handsome violoncellos, and violins chiefly of Stradivari pattern. He died in Shoreditch in about 1836. His scrolls are wonderful pieces of workmanship; but he was of irregular habits, and did not always do full justice to his powers.TOLBECQUE,Auguste.—Paris. Born 1830. A violoncellist, and collector of old instruments; he made a few violins which are said to be excellent copies of Italian work.TONONI.—Bologna, Venice, Rome; seventeenth and eighteenth centuries. An important family of makers of Bolognese origin. There were two Carlos, the elder of whom dates from Bologna, and seems to have worked down to about 1717, or perhaps later. There do not seem to be many of his instruments about. The relationships between the various members of this family are uncertain, and the accounts given of them in books on the violin vary in this respect. Most of the instruments seen are evidently based upon the form of Amati, but there is a German look about them which is apparent enough on examining a specimen though not easy to explain on paper. Many of them are beautifully finished, and built of handsomely figured wood, and the tone, especially of the violoncellos, is exceptionally good. A number of the violins are of rather large size, the arching usually fairly high. Perhaps the best known of the family isCarlo Antonio, who worked in Venice from about 1720-1768. Most of the fiddles are rather high built, have finely figured backs, and a yellow or red-orange varnishof very good quality. Name branded above the tail pin. His second Christian name does not seem to appear upon his tickets.Giovanni Tononiworked in Bologna and apparently in Venice also. His instruments date from about 1689-1740. Model varies, but is chiefly of large Amati character. Good yellow or brown-red varnish of clear texture.Felice Tononidates from Bologna and was possibly the founder of the family, his early tickets dating from about 1670. High model, good clear varnish. Two other names are mentioned,GuidoandPietro.TOPPANI,Angelo de.—Rome; about 1730-45. High built fiddles. Tecchler school.TOROSSI,Cesare.—Novara; about 1840. Little known.TOURTE.—Paris; eighteenth and nineteenth centuries. Celebrated bow-makers. Beyond being the father of the famous François, “Tourte père,” though himself a bow-maker, did not achieve any particular distinction. He died about 1780.XaverorSavère, his elder son, made some good bows, and some very indifferent ones.Francois Tourtewas born in 1747, and died in April, 1835. He made a very large number of bows, and continued to work until very late in life. They are unstamped, and save in about two cases, in which he inserted small engraved labels in the nuts, he used no distinguishing mark or brand to identify his work. He was admittedly the finest bowmaker who ever lived, but the work of other French makers is often quite equal in merit to all but his very best examples, and even then it is more a matter of superb finish than of practical utility. He probably was mainly instrumental in settling the correct length of the bow, but beyond this it is veryquestionable whether he was the actual “inventor” of the improvements with which he is credited in books.TRAPANI,Raffaele.—Naples; early nineteenth century. His instruments are more remarkable for originality than beauty of appearance. Large violins. Sound-holes pointed; flat arching; varnish reddish brown. The work is fairly well finished.TRINELLI,Giovanni.—Scandino; early nineteenth century. Large violins. Powerful tone. Not highly finished. Scarce.TRUCCO,Girolamo.—Savona; about 1840.TRUSKA,Simon Joseph.—Strahow. Died 1809. A priest who made violins and other stringed instruments.TUBBS.—London; nineteenth century. A well-known family of bow-makers. William Tubbs, father of the present maker, worked with Edward Dodd, and much of his work strongly resembles that of his master; he was a good workman.James Tubbswas born in 1835, and is still at work. He has attained wide celebrity, and many of his bows are beautiful examples of his art.TURNER.—London; nineteenth century. Was a well-known dealer and importer, but seems to have employed workmen. His stamp may be seen on many instruments of a common class (sometimes with lion heads) of continental make.TYWERSUS.—Nancy; sixteenth century. It seems to be doubtful whether he made violins.UEBEL.—Markneukirchen, Klingenthal; eighteenth and nineteenth centuries. There were severalmakers of the name. Some of them were at work until very recent times.UGAR,Crescenzio.—Rome; late eighteenth century. Was possibly a German. Brown varnish. German style.ULRICH,Diederich.—Hamburg; eighteenth century. Yellow varnish. Brescian type of work. Some of the instruments have lion heads.UNGARINI,Raynaldo.—Fabriano; about 1800.URBAN,Joseph.—Prague, New York, San Francisco. Died 1893.URQUHART,Thomas.—London; latter half of seventeenth century. High built violins. Varnish of beautiful quality.VAILLANT,Francois.—Paris; about 1730-80. Scarce.VAILLANT,Nicholas.—Bordeaux; nineteenth century. Red varnish. Well finished work. Scrolls well cut.VALENZANO,Giovanni Maria.—Valentia, Rome, Trieste. According to specimens seen by the writer the pattern varied somewhat. Work very well finished; sound-holes and scroll well cut; medium size violins with yellow or reddish yellow varnish of good quality, and resembling Neapolitan, but softer in texture. He worked in various places (chiefly Rome), and used both written and printed labels. Dates between about 1790 and 1825.VALLENTINE,William.—London. Died about 1877. Worked for many years for Hart. A good repairer. Chiefly known as a double-bass maker.VANDELLI,Giovanni.—Fiorano (Modena). Died 1839.VANDERLIST.—Paris; late eighteenth century. Instruments branded. Said to have copied Guadagnini.VANGELISTI,Pier Lorenzo.—Florence; about 1730. Rather indifferent work; somewhat high built. Seemingly scarce.VAROTTI,Giovanni.—Bologna; late eighteenth century.VAUCHEL,Jean Corn.—Mayence, Wurzburg, Damm. Died 1856. Was a dealer and repairer as well as a maker. He was patronised by Paganini and Spohr. His monument describes him as one of the most famous violin makers in the world. He seems to have been a workman of ability, but his instruments are little known in this country.VENTAPANE.—Naples; eighteenth and nineteenth centuries. Three makers of this name date from Naples. Their work belongs to the Gagliano school. Instruments of their make have been sold as genuine Gaglianos. The best known of them isLorenzo, who dates between about 1800-30. Handsome wood, good yellow-orange varnish.Vincenzo Ventapaneworked down to about 1800, and produced some useful instruments.Pasquale Ventapanewas an inferior workman.VERINI,Serafino.—Arceto, Cascogno (Modena). Died 1868. He was a land surveyor who made instruments for his amusement. Andrea Verini, who was perhaps a son, also made instruments.VERMESCH.—Beaumont-sur-Oise. A priest who worked at fiddle making about 1780-1810.VERON,Antoine.—Paris; about 1720-50. Pierray school of work.VERON,Pierre André.—Paris; eighteenth century.VETRINI.—Brescia; about 1630.VIEDENHOFER,Bernard.—Pesth (Budapest); late eighteenth century. Brescian style of work.VIGNERON,Joseph Arthur.—Paris; contemporary. A bow-maker of considerable ability. Worked for some years with Gand and Bernardel.VIMERCATI,Pietro.—Venice; about 1640-60. Said to be an imitator of Amati. There is a tradition that Stainer worked with him.VIMERCATI,Paolo.—Venice; seventeenth century. Amati style according to accounts.VINACCIA.—Naples; eighteenth and nineteenth centuries. A very large Neapolitan family. Violins bearing their labels are met with, but they are noted more as mandoline makers.VISSENAIRE,L. Nicolas.—Lyons. Died 1890. A good workman.VOEL,Jacob.—Mayence, Frankfort-on-the-Maine; about 1840. Well made violins; Stradivari pattern; sound-holes rather wide open; scrolls well cut.VOGLER,Johann Georg.—Wurzburg; first half of eighteenth century.VOIGT.—Markneukirchen; eighteenth and nineteenth centuries. A veritable swarm of makers of the name are enumerated. Upwards of thirty have been engaged in the fiddle business, and one or two ofthem have had branches of their establishments in this country in very recent years.VOIRIN,Francis Nicolas.—Paris. Born 1833; died 1885. A celebrated bow-maker. His pattern has been much imitated by modern French makers, such as Lamy, Sartory, and several others.VOLLER,William.—London. Born 1860. A most skilful imitator of old Italian work. His “facsimiles” have puzzled many by no means uninformed observers by their close resemblance to genuine Italian masterpieces, and have in some instances been productive of law suits. He imitates the appearances of wear with perhaps greater skill than any other workman who has practised the art, not even excepting Vuillaume and John Lott. Two or more brothers are, or were recently, employed in the same line of business.VUILLAUME.—Mirecourt, Paris, Brussels; eighteenth and nineteenth centuries. The name is probably known wherever the violin is in use owing to the wide celebrity attained by the principal maker of the family, which was of Mirecourt origin. About ten Vuillaumes have been engaged in fiddle making. Four named Claude or Claude Francis operated in Mirecourt from about 1625-1865. Claude Vuillaume II. died in Mirecourt in 1834. Instruments of his make are branded on the backs “Au roi David,” Paris.Jean Baptiste Vuillaume, who made the name famous, was born in Mirecourt in 1798, and was a son of Claude Vuillaume II. He died in Paris in 1875, and at the time of his death his workshops had turned out upwards of three thousand instruments. This fact speaks for itself, and though he was personally a workman of consummate skill and employedassistants of much ability, there can be no question that the world would have been richer in really first-class examples of the copyist’s art had he been content to limit his output to more modest dimensions. But Vuillaume was a keen business man, and knew well enough that extensive production was the one and only way to amass a fortune in the manufacture of new fiddles. The story of his life has been told time and again in books on the violin, and there is no need here to repeat it. He has left some of the finest copies of Stradivari that were ever made, and many that, from a tone point of view, are of little or no account. The instruments made from artificially matured wood, of which many exist, are disastrous failures, and it is fortunate that he desisted after some time from producing such things. His violoncellos are useful instruments, and generally possess a fine tone. He was a fine judge of old Italian work, and many notable violins and basses passed through his hands.Nicolas Vuillaume, his brother, worked in Mirecourt, and died there in 1871. His work is fair, but of the trade class. He was the maker of the so-called “Stentor” violins.Nicolas Francis Vuillaume, another brother—born 1802, died 1876—worked for a time with J. B. Vuillaume, and afterwards went to Brussels, where he was for many years in business. He was maker to the Conservatoire there, and received medals. He was a very fair workman, but much inferior to his brother in ability.Sebastien Vuillaume, a nephew, died in 1876, and was not particularly distinguished. He also worked in Paris.WAGNER.—Eighteenth and nineteenth centuries. Nine or more makers are mentioned bearing the name. They worked in different parts of Germany. BenedictWagner, Elwangen, was at work in that place between about 1720 and 1790. Pattern varies, but they are usually high built. Yellow-brown varnish. He branded his name on the backs. Another Wagner, named Joseph, worked in Constance in the eighteenth century.WAMSLEY,Peter.—London; first half of eighteenth century. He was the founder of a school of makers, and several workmen, such as Thomas Smith, Joseph Hill, and others, worked with, or imitated him. His instruments are of Stainer pattern, and he generally used prettily marked wood for his backs. Varnish varies in colour, but is chiefly dark red or red-brown. He made a number of violoncellos. Work often unpurfled.WARNECKE,L. Georges.—Nancy; about 1820-30. He branded his violins with a curious monogram under the bridge.WASSERMANN,Joseph.—Znaim; late eighteenth century. Examples scarce. Well-made instruments with orange-brown varnish.WEBER,Michael.—Prague. Died 1844.WEICHOLD,Richard.—Dresden. A well-known manufacturer of stringed instruments and accessories. Many of the bows bearing his stamp are excellent. He died in 1902.WELLER.—Markneukirchen; nineteenth century. Several makers of the name are mentioned, but amongst the various Christian names that of “Samuel” does not occur.WENGER,Gregori Ferdinand.—Augsburg;eighteenth century. Stainer character of work. Varnish red or dark brown.WERNER.—Nineteenth century. A numerous family originating in Schönbach. A maker namedFranz Wernerworked in Vienna until about 1825 and was a pupil of Geissenhof. Careful work. Stradivari pattern.WETTENGEL.—Markneukirchen; nineteenth century. A family of instrument makers. One of them (Gustav Adolf) wrote a book on violin making.WHITAKER.—London; about 1810-29. Button and Whitaker were instrument dealers. The name may be seen on violins and violoncellos of mediocre workmanship.WIDHALM.—Nuremburg; eighteenth and nineteenth centuries. A fairly numerous family of makers, the chief of whom wasLeopold Widhalm, who was born in 1722 and died in 1776. He was a prolific workman and a good many of his fiddles are in this country. He copied Stainer with much ability, but generally overdid the arching. His varnish is usually red, and of very good quality. There is a good deal of sameness about his work. He made some fine violas. His initials are generally seen stamped under the labels. Several sons were also makers. The second of them,Gallus Ignatius, died in 1822.WILFER.—Nineteenth century. There have been several German makers of this name.WILLEMS.—Ghent; seventeenth and eighteenth centuries. Three makers of the name are known. Good work of the Amati school.WILLER.—Prague; eighteenth and nineteenth centuries. Three makers known. Johann Michael Wilier died in 1826, and was a tolerably good workman.WISE,Christopher.—London; middle of seventeenth century. A violoncello attributed to this maker was seen by the writer in London recently, but was not a very interesting specimen. The violins are occasionally met with and have very good varnish. Size rather small.WITHERS.—London; nineteenth century and contemporary. Well-known firms of London dealers and repairers. The founder of the business wasEdward Withers, who died about 1870. He was a maker of decided ability and made some instruments of high-class finish and workmanship. He also employed some excellent workmen, amongst them Boullangier (q.v.). A son of the same name was a pupil of Lott and carried on business in Wardour Street. He died in 1915, and the business is continued by his sons.George Withers, another son of the first Edward, established a successful business on his own account, and retired some years ago. The firm is now “George Withers and Sons,” the partners being two of his sons,GuarneriandWalter, both of whom underwent a course of training in Mirecourt.WOLFF,Brothers.—Kreuznach; contemporary. Well-known manufacturers of instruments of the “factory” class.WORLEANDWORNLE.—Makers bearing these names worked in various parts of Germany and in Vienna. Seventeenth and eighteenth centuries.WUNDERLICH.—Markneukirchen; nineteenth century. Several of the name.ZACH,Thomas.—Budapest, Vienna. Born 1812; died 1892. He was a very fine workman. His copies of Stradivari and Guarneri are beautifully made and take high rank amongst modern productions. The varnish on many of them is of excellent quality. A son,Carl Zach, invented a process for impregnating the wood of his instruments to improve the tone. Judging by examples seen by the writer it did not have the desired effect.ZACHER,Franz.—Ingoldstadt; early eighteenth century. High built instruments. Careful work and handsome wood. Specimens scarce.ZANETTO.—Brescia; late sixteenth and early seventeenth centuries. His name appears to have been Peregrino, or Pelegrino, Michelis di Zanetto, but he is usually referred to as “Zanetto.” He certainly made violas of the large, or “Tenore” class, but as to what other instruments of a type now in use he really made there seems to be some doubt. Messrs George Withers and Sons possess a viola of his make.ZANFI,Giacomo.—Modena. Born 1756; died about 1822. According to labels was a music teacher who made violins and larger instruments.ZANOLI,Gio. Battista.—Verona; 1730-57 Seemingly a mediocre maker.ZANOLI,Giacomo.—Venice, Padua, Verona; about 1740-60.ZANOTTI,Antonio.—Mantua; eighteenth century.ZANTI,Alessandro.—Late eighteenth and early nineteenth centuries. Worked in Mantua. Work well finished. Chiefly Stradivari pattern.ZWERGER.—Mittenwald; eighteenth and nineteenth centuries. A family of makers of Mittenwald origin. Several of them worked in Neuberg.
STRNAD,Caspar.—Prague. Died 1823. Fine red varnish, pattern usually that of Stradivari. He used several different labels, engraved with musical instruments and other devices.
STROBL.—Eighteenth century. There were at least three makers of the name. Two named Johann worked in Hallein, and a third named Tobias in Krems.
STUMPEL, H. C.—Minden. Born 1838. A maker who produced instruments of various models, built according to a system of thicknessing of his own. He used a label bearing a diagram showing a violin belly graduated according to his method.
STURTZER, or STURZER.—Breslau. Eighteenth century. Two makers named Johann Michael Sturzer worked in Breslau.
SÜSS,Johann Christian.—Markneukirchen. Died 1900. Worked for a time in Dresden. He was one of the best bowmakers Germany has produced.
SULOT,Nicolas.—Dijon; about 1820-40. Took out a patent for a violin with a double belly.
SUTOR,Johann Martin.—Vienna. Died 1758. Examples scarce, and little known.
SUTTERLEIN,J. Friedrich.—Strasburg. Died 1893 or later. Careful work. Stradivari pattern. Pretty varnish. He came under the notice of the artist Wilhelmj, who thought highly of his abilities.
SZEPESSY. See Bela.
TADOLINI,Ignazio.—Modena. Born 1797; died 1873. Known only as a bow-maker, in which department he excelled. A brother—Giuseppe—seems to have made a few instruments.
TANEGIA,Carlo Antonio.—Milan; about 1720. Grancino style. Examples scarce.
TANINGARD,Gio. Giorgio.—Rome; about 1730-1750. Possibly worked with Tecchler. He used various labels.
TARR,William.—Manchester. Born 1809; died 1892. This maker is chiefly known amongst English double-bass players, but made smaller instruments also. The basses are often excellent, and are in high esteem amongst Northern and Midland contrabassists.
TASSINI,Bartolommeo.—Venice; latter half of eighteenth century. The backs of his violins are usually in one piece, and the wood is often handsome. Varnish a clear golden yellow.
TAYLOR,William.—London; eighteenth and early nineteenth centuries. He was a good average workman, and made useful instruments of the Panormo class. He is said to have been taught by Panormo. The writer has met with a few good violas of his make, but he seems to have made more double-basses. Varnish yellow or yellow brown.
TECCHLER,David.—Salsburg, Venice, Rome. Born 1666; died about 1745. An important and prolific maker. He seems to have had a large business in Rome, and probably employed a good many assistants. A great number of his violoncellos are in existence, and are generally of high merit. They were of large pattern, but have frequently been reduced in size. In his best work he caught something of the true Italian style, and he was evidently acquainted with Italian methods of varnishing. But like nearly all of his countrymen, he never succeeded in freeing himself entirely from German notions, traces of which are noticeable in practically all his works. They all hint of Stainer somewhere. A few fine double-basses are in existence. The violas are very scarce. Violins are pretty plentiful, and vary somewhat in finish and general merit. The writer has met with two of these, and one violoncello with the bellies cut the wrong way of the wood, or “slab-wise.” The scrolls are often well carved, and in the violins somewhat slender at the throat. The varnish on the Roman instruments, which are much more plentiful than those dating from Salsburg or Venice,is of Amati character, and generally of yellow-red or yellow-brown colour.
TEDESCO,Leopoldo.—Cremona, Rome. Is all but unknown as a maker, but is mentioned in the Parish Registers of Cremona as a pupil of Niccolò Amati. The name seems to be there spelt “Todesco.” He was born in 1625.
TENTZEL.—Mittenwald; eighteenth century. Kloz school of work.
TERMANINI,Joseph.—Modena; about 1750 and later. Appears to have been a priest who made fiddles. Work rare and of no particular merit.
TESTORE.—Milan; seventeenth and eighteenth centuries. A widely known and important family of makers whose instruments, though chiefly of second-class workmanship and inferior finish, are much sought after by players on account of their excellent tone. However rough and unattractive the specimen may appear, a Testore may almost always be relied on to possess a fine tone. Apparently the patronage they were able to obtain did not permit them to do their best save on rare occasions, but there are violins in existence by C. G. and C. A. Testore which prove conclusively that, given the opportunity, these makers were possessed of skill and abilities of a high order. In these rare cases we meet with specimens of good form and finish, handsome wood and brilliant varnish. The average Testore is, however, an instrument which in all or most of these particulars leaves a good deal to be desired. The bellies are almost without exception of pine of the best quality acoustically, but the backs and sides are mostly of plain or small figured native wood, the heads are mean and pinched looking,sound-holes carelessly cut, varnish a dull yellow or dirty brown, and many of them are (or rather were) unpurfled.Carlo Giuseppe Testore, the first of the name, worked between about 1680 and 1710. He was a pupil of Giovanni Grancino, whose label has been found in violins and violoncellos of his make, his own label being discovered by repairers underneath. This happened in the case of a violoncello owned by Robert Lindley. His model varies, but it is absurd, having regard to dates, to class him as an imitator of Guarneri del Gesù, whose earliest fiddles date from about 1725 or a year or two earlier. Such resemblance as may exist between the violins of the two makers is very trifling, and can hardly be said to extend beyond an occasional similarity in the form of the sound-holes. The varnish is usually brown or brownish yellow. In some, but not all, of the instruments a brand mark, representing an eagle, is met with, but the use of the brand is more frequently observed in the work of his son, Carlo Antonio. Carlo Giuseppe made some violoncellos of much merit, the wood of the backs being mostly pear tree or plain material. He is also in repute as a double-bass maker. His elder son,Carlo Antonio, seems to have worked until after 1760, and apparently made more violins than his father. The pattern varies a good deal and it is difficult to say that he imitated any other maker in particular. Most of his instruments are branded inside with the double eagle, sometimes in two or more places. The work is often roughly finished. Bottesini’s favourite double-bass was an example by this maker. A son,Giovanni, worked with him in later years.Paolo Antonio Testorewas the younger son of Carlo Giuseppe. He was at work until after 1760. His violins bear some resemblance to those of Guarneri.Varnish often palish yellow. Instruments frequently unpurfled, especially in the backs, but a good many have been purfled by later hands. He also used the eagle brand, but not invariably. Wood generally very plain.
THERESS,Charles.—London; about 1840-1850. Worked first with Maucotel; afterwards on his own account in Soho. Mirecourt style.
THIBOUT.—Paris; eighteenth and nineteenth centuries. A well-known family, most of whom worked in Paris. There were about six makers in all. The most celebrated wasJacques Pierre, born 1779, died 1856. He was one of the finest workmen of the French school, and his best copies of Stradivari are less heavy in appearance than those of Lupot and the tone is more Italian in character. The varnish on such specimens is also very handsome: red on a yellow basis. His instruments were made in at least two grades and the better ones now command very high prices. He obtained several medals, and used labels in various styles at different dates. It is much to be regretted that his best personal work is not more plentiful.
THIBOUVILLE-LAMY,Louis Emile Jerome.—Mirecourt, Paris. Born 1833. Manufactures stringed and other musical instruments on a huge scale, and of all grades. He has received various medals and employs many workmen.
THIR.—Presburg, Vienna; eighteenth century. Nine or ten makers of the name. There were two Antons in Presburg, and two in Vienna. One of the best wasAndreas, who worked in Presburg until about 1798, and copied the form of Amati well.Johann Georg Thirwas established in Vienna until after 1790, and made a good many instruments. Varnish dark brown or dark red. Geissenhof was for a time in partnership with him. Another good maker of the name wasMathias, who was a brother of J. G. Thir and worked until about 1795.
THOMASSIN,Louis.—Paris. Born 1855. A clever bow-maker. Voirin style.
THOMPSON.—London; late eighteenth century. There were several makers, or rather instrument dealers, in business in St. Paul’s Churchyard. Instruments vary, and the violoncellos are often better than the violins. The latter are generally a sort of mixture of the patterns of Stainer and Amati, with red or yellow varnish, and of no particular character.
THOUVENEL,Henry.—Mirecourt; about 1850-1860. Strad pattern; yellow varnish.
THUMARDT.—Straubing, Munich; eighteenth and nineteenth centuries. Eight or more makers are named. One of them,Johann Stephan, worked in Straubing until 1817, and his work is of some value.
TIEFENBRUNNER.—Mittenwald, Munich; eighteenth and nineteenth centuries. A family who must not be confounded with the Tieffenbruckers who were viol makers. Eight or nine Tiefenbrunners have been engaged in the manufacture of stringed instruments, chiefly zithers. Amongst those who made violinsJohann Caspar, who died about 1769, and worked in Mittenwald, seems to be best known.
TIELKE,Joachim.—Hamburg. Born 1641; died 1719. Is said to have made violins, but the only instruments seen by the writer were of the lute or viol class.
TOBIN,Richard.—Dublin, London. A fine workman. Was for a time employed by Perry. Afterwards by Betts and other London dealers, besides working on his own account. Made some very handsome violoncellos, and violins chiefly of Stradivari pattern. He died in Shoreditch in about 1836. His scrolls are wonderful pieces of workmanship; but he was of irregular habits, and did not always do full justice to his powers.
TOLBECQUE,Auguste.—Paris. Born 1830. A violoncellist, and collector of old instruments; he made a few violins which are said to be excellent copies of Italian work.
TONONI.—Bologna, Venice, Rome; seventeenth and eighteenth centuries. An important family of makers of Bolognese origin. There were two Carlos, the elder of whom dates from Bologna, and seems to have worked down to about 1717, or perhaps later. There do not seem to be many of his instruments about. The relationships between the various members of this family are uncertain, and the accounts given of them in books on the violin vary in this respect. Most of the instruments seen are evidently based upon the form of Amati, but there is a German look about them which is apparent enough on examining a specimen though not easy to explain on paper. Many of them are beautifully finished, and built of handsomely figured wood, and the tone, especially of the violoncellos, is exceptionally good. A number of the violins are of rather large size, the arching usually fairly high. Perhaps the best known of the family isCarlo Antonio, who worked in Venice from about 1720-1768. Most of the fiddles are rather high built, have finely figured backs, and a yellow or red-orange varnishof very good quality. Name branded above the tail pin. His second Christian name does not seem to appear upon his tickets.Giovanni Tononiworked in Bologna and apparently in Venice also. His instruments date from about 1689-1740. Model varies, but is chiefly of large Amati character. Good yellow or brown-red varnish of clear texture.Felice Tononidates from Bologna and was possibly the founder of the family, his early tickets dating from about 1670. High model, good clear varnish. Two other names are mentioned,GuidoandPietro.
TOPPANI,Angelo de.—Rome; about 1730-45. High built fiddles. Tecchler school.
TOROSSI,Cesare.—Novara; about 1840. Little known.
TOURTE.—Paris; eighteenth and nineteenth centuries. Celebrated bow-makers. Beyond being the father of the famous François, “Tourte père,” though himself a bow-maker, did not achieve any particular distinction. He died about 1780.XaverorSavère, his elder son, made some good bows, and some very indifferent ones.Francois Tourtewas born in 1747, and died in April, 1835. He made a very large number of bows, and continued to work until very late in life. They are unstamped, and save in about two cases, in which he inserted small engraved labels in the nuts, he used no distinguishing mark or brand to identify his work. He was admittedly the finest bowmaker who ever lived, but the work of other French makers is often quite equal in merit to all but his very best examples, and even then it is more a matter of superb finish than of practical utility. He probably was mainly instrumental in settling the correct length of the bow, but beyond this it is veryquestionable whether he was the actual “inventor” of the improvements with which he is credited in books.
TRAPANI,Raffaele.—Naples; early nineteenth century. His instruments are more remarkable for originality than beauty of appearance. Large violins. Sound-holes pointed; flat arching; varnish reddish brown. The work is fairly well finished.
TRINELLI,Giovanni.—Scandino; early nineteenth century. Large violins. Powerful tone. Not highly finished. Scarce.
TRUCCO,Girolamo.—Savona; about 1840.
TRUSKA,Simon Joseph.—Strahow. Died 1809. A priest who made violins and other stringed instruments.
TUBBS.—London; nineteenth century. A well-known family of bow-makers. William Tubbs, father of the present maker, worked with Edward Dodd, and much of his work strongly resembles that of his master; he was a good workman.James Tubbswas born in 1835, and is still at work. He has attained wide celebrity, and many of his bows are beautiful examples of his art.
TURNER.—London; nineteenth century. Was a well-known dealer and importer, but seems to have employed workmen. His stamp may be seen on many instruments of a common class (sometimes with lion heads) of continental make.
TYWERSUS.—Nancy; sixteenth century. It seems to be doubtful whether he made violins.
UEBEL.—Markneukirchen, Klingenthal; eighteenth and nineteenth centuries. There were severalmakers of the name. Some of them were at work until very recent times.
UGAR,Crescenzio.—Rome; late eighteenth century. Was possibly a German. Brown varnish. German style.
ULRICH,Diederich.—Hamburg; eighteenth century. Yellow varnish. Brescian type of work. Some of the instruments have lion heads.
UNGARINI,Raynaldo.—Fabriano; about 1800.
URBAN,Joseph.—Prague, New York, San Francisco. Died 1893.
URQUHART,Thomas.—London; latter half of seventeenth century. High built violins. Varnish of beautiful quality.
VAILLANT,Francois.—Paris; about 1730-80. Scarce.
VAILLANT,Nicholas.—Bordeaux; nineteenth century. Red varnish. Well finished work. Scrolls well cut.
VALENZANO,Giovanni Maria.—Valentia, Rome, Trieste. According to specimens seen by the writer the pattern varied somewhat. Work very well finished; sound-holes and scroll well cut; medium size violins with yellow or reddish yellow varnish of good quality, and resembling Neapolitan, but softer in texture. He worked in various places (chiefly Rome), and used both written and printed labels. Dates between about 1790 and 1825.
VALLENTINE,William.—London. Died about 1877. Worked for many years for Hart. A good repairer. Chiefly known as a double-bass maker.
VANDELLI,Giovanni.—Fiorano (Modena). Died 1839.
VANDERLIST.—Paris; late eighteenth century. Instruments branded. Said to have copied Guadagnini.
VANGELISTI,Pier Lorenzo.—Florence; about 1730. Rather indifferent work; somewhat high built. Seemingly scarce.
VAROTTI,Giovanni.—Bologna; late eighteenth century.
VAUCHEL,Jean Corn.—Mayence, Wurzburg, Damm. Died 1856. Was a dealer and repairer as well as a maker. He was patronised by Paganini and Spohr. His monument describes him as one of the most famous violin makers in the world. He seems to have been a workman of ability, but his instruments are little known in this country.
VENTAPANE.—Naples; eighteenth and nineteenth centuries. Three makers of this name date from Naples. Their work belongs to the Gagliano school. Instruments of their make have been sold as genuine Gaglianos. The best known of them isLorenzo, who dates between about 1800-30. Handsome wood, good yellow-orange varnish.Vincenzo Ventapaneworked down to about 1800, and produced some useful instruments.Pasquale Ventapanewas an inferior workman.
VERINI,Serafino.—Arceto, Cascogno (Modena). Died 1868. He was a land surveyor who made instruments for his amusement. Andrea Verini, who was perhaps a son, also made instruments.
VERMESCH.—Beaumont-sur-Oise. A priest who worked at fiddle making about 1780-1810.
VERON,Antoine.—Paris; about 1720-50. Pierray school of work.
VERON,Pierre André.—Paris; eighteenth century.
VETRINI.—Brescia; about 1630.
VIEDENHOFER,Bernard.—Pesth (Budapest); late eighteenth century. Brescian style of work.
VIGNERON,Joseph Arthur.—Paris; contemporary. A bow-maker of considerable ability. Worked for some years with Gand and Bernardel.
VIMERCATI,Pietro.—Venice; about 1640-60. Said to be an imitator of Amati. There is a tradition that Stainer worked with him.
VIMERCATI,Paolo.—Venice; seventeenth century. Amati style according to accounts.
VINACCIA.—Naples; eighteenth and nineteenth centuries. A very large Neapolitan family. Violins bearing their labels are met with, but they are noted more as mandoline makers.
VISSENAIRE,L. Nicolas.—Lyons. Died 1890. A good workman.
VOEL,Jacob.—Mayence, Frankfort-on-the-Maine; about 1840. Well made violins; Stradivari pattern; sound-holes rather wide open; scrolls well cut.
VOGLER,Johann Georg.—Wurzburg; first half of eighteenth century.
VOIGT.—Markneukirchen; eighteenth and nineteenth centuries. A veritable swarm of makers of the name are enumerated. Upwards of thirty have been engaged in the fiddle business, and one or two ofthem have had branches of their establishments in this country in very recent years.
VOIRIN,Francis Nicolas.—Paris. Born 1833; died 1885. A celebrated bow-maker. His pattern has been much imitated by modern French makers, such as Lamy, Sartory, and several others.
VOLLER,William.—London. Born 1860. A most skilful imitator of old Italian work. His “facsimiles” have puzzled many by no means uninformed observers by their close resemblance to genuine Italian masterpieces, and have in some instances been productive of law suits. He imitates the appearances of wear with perhaps greater skill than any other workman who has practised the art, not even excepting Vuillaume and John Lott. Two or more brothers are, or were recently, employed in the same line of business.
VUILLAUME.—Mirecourt, Paris, Brussels; eighteenth and nineteenth centuries. The name is probably known wherever the violin is in use owing to the wide celebrity attained by the principal maker of the family, which was of Mirecourt origin. About ten Vuillaumes have been engaged in fiddle making. Four named Claude or Claude Francis operated in Mirecourt from about 1625-1865. Claude Vuillaume II. died in Mirecourt in 1834. Instruments of his make are branded on the backs “Au roi David,” Paris.Jean Baptiste Vuillaume, who made the name famous, was born in Mirecourt in 1798, and was a son of Claude Vuillaume II. He died in Paris in 1875, and at the time of his death his workshops had turned out upwards of three thousand instruments. This fact speaks for itself, and though he was personally a workman of consummate skill and employedassistants of much ability, there can be no question that the world would have been richer in really first-class examples of the copyist’s art had he been content to limit his output to more modest dimensions. But Vuillaume was a keen business man, and knew well enough that extensive production was the one and only way to amass a fortune in the manufacture of new fiddles. The story of his life has been told time and again in books on the violin, and there is no need here to repeat it. He has left some of the finest copies of Stradivari that were ever made, and many that, from a tone point of view, are of little or no account. The instruments made from artificially matured wood, of which many exist, are disastrous failures, and it is fortunate that he desisted after some time from producing such things. His violoncellos are useful instruments, and generally possess a fine tone. He was a fine judge of old Italian work, and many notable violins and basses passed through his hands.Nicolas Vuillaume, his brother, worked in Mirecourt, and died there in 1871. His work is fair, but of the trade class. He was the maker of the so-called “Stentor” violins.Nicolas Francis Vuillaume, another brother—born 1802, died 1876—worked for a time with J. B. Vuillaume, and afterwards went to Brussels, where he was for many years in business. He was maker to the Conservatoire there, and received medals. He was a very fair workman, but much inferior to his brother in ability.Sebastien Vuillaume, a nephew, died in 1876, and was not particularly distinguished. He also worked in Paris.
WAGNER.—Eighteenth and nineteenth centuries. Nine or more makers are mentioned bearing the name. They worked in different parts of Germany. BenedictWagner, Elwangen, was at work in that place between about 1720 and 1790. Pattern varies, but they are usually high built. Yellow-brown varnish. He branded his name on the backs. Another Wagner, named Joseph, worked in Constance in the eighteenth century.
WAMSLEY,Peter.—London; first half of eighteenth century. He was the founder of a school of makers, and several workmen, such as Thomas Smith, Joseph Hill, and others, worked with, or imitated him. His instruments are of Stainer pattern, and he generally used prettily marked wood for his backs. Varnish varies in colour, but is chiefly dark red or red-brown. He made a number of violoncellos. Work often unpurfled.
WARNECKE,L. Georges.—Nancy; about 1820-30. He branded his violins with a curious monogram under the bridge.
WASSERMANN,Joseph.—Znaim; late eighteenth century. Examples scarce. Well-made instruments with orange-brown varnish.
WEBER,Michael.—Prague. Died 1844.
WEICHOLD,Richard.—Dresden. A well-known manufacturer of stringed instruments and accessories. Many of the bows bearing his stamp are excellent. He died in 1902.
WELLER.—Markneukirchen; nineteenth century. Several makers of the name are mentioned, but amongst the various Christian names that of “Samuel” does not occur.
WENGER,Gregori Ferdinand.—Augsburg;eighteenth century. Stainer character of work. Varnish red or dark brown.
WERNER.—Nineteenth century. A numerous family originating in Schönbach. A maker namedFranz Wernerworked in Vienna until about 1825 and was a pupil of Geissenhof. Careful work. Stradivari pattern.
WETTENGEL.—Markneukirchen; nineteenth century. A family of instrument makers. One of them (Gustav Adolf) wrote a book on violin making.
WHITAKER.—London; about 1810-29. Button and Whitaker were instrument dealers. The name may be seen on violins and violoncellos of mediocre workmanship.
WIDHALM.—Nuremburg; eighteenth and nineteenth centuries. A fairly numerous family of makers, the chief of whom wasLeopold Widhalm, who was born in 1722 and died in 1776. He was a prolific workman and a good many of his fiddles are in this country. He copied Stainer with much ability, but generally overdid the arching. His varnish is usually red, and of very good quality. There is a good deal of sameness about his work. He made some fine violas. His initials are generally seen stamped under the labels. Several sons were also makers. The second of them,Gallus Ignatius, died in 1822.
WILFER.—Nineteenth century. There have been several German makers of this name.
WILLEMS.—Ghent; seventeenth and eighteenth centuries. Three makers of the name are known. Good work of the Amati school.
WILLER.—Prague; eighteenth and nineteenth centuries. Three makers known. Johann Michael Wilier died in 1826, and was a tolerably good workman.
WISE,Christopher.—London; middle of seventeenth century. A violoncello attributed to this maker was seen by the writer in London recently, but was not a very interesting specimen. The violins are occasionally met with and have very good varnish. Size rather small.
WITHERS.—London; nineteenth century and contemporary. Well-known firms of London dealers and repairers. The founder of the business wasEdward Withers, who died about 1870. He was a maker of decided ability and made some instruments of high-class finish and workmanship. He also employed some excellent workmen, amongst them Boullangier (q.v.). A son of the same name was a pupil of Lott and carried on business in Wardour Street. He died in 1915, and the business is continued by his sons.George Withers, another son of the first Edward, established a successful business on his own account, and retired some years ago. The firm is now “George Withers and Sons,” the partners being two of his sons,GuarneriandWalter, both of whom underwent a course of training in Mirecourt.
WOLFF,Brothers.—Kreuznach; contemporary. Well-known manufacturers of instruments of the “factory” class.
WORLEANDWORNLE.—Makers bearing these names worked in various parts of Germany and in Vienna. Seventeenth and eighteenth centuries.
WUNDERLICH.—Markneukirchen; nineteenth century. Several of the name.
ZACH,Thomas.—Budapest, Vienna. Born 1812; died 1892. He was a very fine workman. His copies of Stradivari and Guarneri are beautifully made and take high rank amongst modern productions. The varnish on many of them is of excellent quality. A son,Carl Zach, invented a process for impregnating the wood of his instruments to improve the tone. Judging by examples seen by the writer it did not have the desired effect.
ZACHER,Franz.—Ingoldstadt; early eighteenth century. High built instruments. Careful work and handsome wood. Specimens scarce.
ZANETTO.—Brescia; late sixteenth and early seventeenth centuries. His name appears to have been Peregrino, or Pelegrino, Michelis di Zanetto, but he is usually referred to as “Zanetto.” He certainly made violas of the large, or “Tenore” class, but as to what other instruments of a type now in use he really made there seems to be some doubt. Messrs George Withers and Sons possess a viola of his make.
ZANFI,Giacomo.—Modena. Born 1756; died about 1822. According to labels was a music teacher who made violins and larger instruments.
ZANOLI,Gio. Battista.—Verona; 1730-57 Seemingly a mediocre maker.
ZANOLI,Giacomo.—Venice, Padua, Verona; about 1740-60.
ZANOTTI,Antonio.—Mantua; eighteenth century.
ZANTI,Alessandro.—Late eighteenth and early nineteenth centuries. Worked in Mantua. Work well finished. Chiefly Stradivari pattern.
ZWERGER.—Mittenwald; eighteenth and nineteenth centuries. A family of makers of Mittenwald origin. Several of them worked in Neuberg.