AUTUMN 1980

PUBLISHED BY WILLIAM MOENNIG & SON, LTD., 2039 LOCUST STREET, PHILADELPHIA, PA. 19103

The Tubbs Bow bow maker in the early 1860's the qualities of An Italian and a French bow — By PHILIP J. KASS a talented and experienced master were these have been the aspiration of already evident. generations of violinists. The modern era has broadened its sights and todays William Retford asserts that James was professionals have recognized the great an unemployed textile worker at this time, crafts- and superb playing qualities of the and there is also evidence to suggest that bows by makers of the English school he was a civil servant. What is clear is that and by James Tubbs in particular. about 1858 he began to work for W. E. The Tubbs family made bows and Hill, producing bows to bear Hill's brand. instruments as early as the 1800's, and five He was in his early 20's and had a wife and generations have practiced the craft. The a son to support. Whether he stayed with first was William (the father) of Poplar, a Hill until the 1870's, as Retford suggests, small impoverished industrial community or whether he created bows on a piece north of the docks near Stepney and east of goods basis is not known, but he did the Tower of London. William Tubbs maintain a shop of his own during these moved to London and worked there until years. Tubbs opened his first shop in 1864, the 1820's. His son Thomas is the first in at 5 Church Street in Soho. There he the family whose work we can actually stayed until 1866, moving to 53 Greek identify. He and his father were no doubt Street, Soho and subsequently to 39 King tradesmen who produced their bows Street, on the site of the present day without brand and sold them to the trade. Shaftsbury Avenue. His final move came James Tubbs at work at his bench in the shop at 94 in 1872-3, when he occupied the Wardour Thomas worked most of his life in Wardour Street, London. This photograph of his last years Lambeth, south of the Thames. dates from circa 1917 Street shop that he was to keep for the rest Thomas' son William traditionally is of his life. said to have been a pupil of Edward give London so much of its character. It The early bows made for Hill are Dodd, who was a nephew of John Kew still exists, just a few short blocks from the clearly the work of a master, and it is no Dodd. On the death of Edward Dodd in old Tubbs shop at 94 Wardour Street. surprise that W. E. Hill bows, made by 1851, William Tubbs bought Edward's William spent his last years on 45 Rupert James Tubbs, received awards for inventories. The Tubbs', father and son, Street and later I Rupert Court. This excellence at the London exhibition of and Edward Dodd were neighbors, and dwelling adjoins the Blue Poles Public 1862. Some believe that this was the there is a strong stylistic resemblance in House, a centuries-old tavern which may cause for a falling out between Tubbs and their work to indicate their more intimate bear the distinction of having served James Hill. Certainly their working relationship knowledge of Edward's work. These were Tubbs his first drink. Little is known of was difficult. James' proclivity for hard times for bowmakers, since the James' early years, but life could not have drinking he shared with his bowmaking removal of tariffs brought a flood of been easy for him, living in close quarters predecessors; it could not have made him inexpensive German bows. Dodd had long in a squalid section of town with his easy to deal with. He worked on his own ago given up bowmaking for his other impoverished and multitudinous family. despite his Hill employment. These great skill—that of string making. He was This notorious district served as a model factors may have led to his departure one of the few people who knew the art of for the poor quarters in Dickens' Oliver from Hill's shop. Whatever the wrapping strings in the modern fashion Twist and Bleak House. circumstances, it did not prevent him which was then just coming into vogue. He most certainly learned the art of from continuing to produce and repair bowmaking from his father, William, fox not bows not only for Hill but also for other James, son of the second William, was the only do some of William's bows show James' shops of the time. We occasionally see eldest of 11 children and was born March 25, hand but also James' early bows show the examples of his work bearing the brand of 1835 at Rupert Court, one of those unmistakable styling of the father. When he George Adolphe Chanot of Manchester. picturesque little alleyways which made his first appearance as a These have occasionally borne the Continued on page 2 The head and frog of a bow made by James Tubbs circa 1880. In this bow all of the typical characteristics of his working style are evident. The head is broad and full, the model being the early work of Francois Tourte. The frog with pearl eyes and long ferrule and button are also typical of this period. This particular bow, a very pure and representative example, has metal fittings of engraved gold.

Tubbs brand under the frog. made it clear to James that he must do used 110 to 150 hairs per bow. Retford traces this development to the earlier It may be that economic considerations something to identify himself. The Tubbs and to the Dodds. On many bows overruled any thoughts of artistic integrity importance of this fact is indicated by this section has been enlarged by later for this young bowmaker, beginning a James Tubbs' advertisements as late as repairmen so that a normal wedge can be career under uncertain circumstances. the 1900's in which he stated that he was not connected with any other firm used. James continued to make bows in Actually, he was following in the well this style until 1894. worn footsteps of his bow making bearing the Tubbs name and that his predecessors, not only in his own family Wardour Street shop was his only During these years Tubbs adopted the but also the Dodds and Browns, whose location, so that his bows would not be system devised by W. S. B. Woolhouse, a bows were sold with no brand so that they confused with those of his brothers. mathematician and amateur musician, might eventually bear those of the The 1880's were successful years for who believed that the vibrations of the successful dealers and violin makers of Tubbs. Leading musicians like Wilhelmj bow were as important as those of the their day, like Corsby, Norris and Barnes, and Piatti were using and applauding his violin. The bow, then, must be perfect in Forster, Betts and others. Tubbs created bows. The upper class gentry, now weight and proportion in order to have something of a minor scandal in his later coming to appreciate the qualities of a the ideal vibrations. Woolhouse years when he placed his own brand fine Cremonese violin, soon wanted a developed this logarithmically in an directly over Hill's, but by then he was Tubbs bow to go with it, and flocked to equation quite similar to the one devised successful and could afford that luxury. his shop His family was growing, and he by Vuillaume, a system based upon the was meeting with commercial success, study of Tourte's bows. This gave a Early in the 1870's Tubbs settled on his perhaps the first member of his family to generally 'French' character to the bows own in the shop at 94 Wardour Street. In do so. In 1885 he won a Gold medal for quite in keeping with Tubbs' taste, for he those days it was known as 47 Wardour his bows at the Inventions Exhibition was a great admirer of the French Street, the change occurring in 1878 when held that year in London. He was made masters and incorporated many of their Wardour Street was lengthened and bowmaker by Special Appointment to H. structural ideas in his bows. renumbered. We have in our collection a R. H. The Duke of Edinburgh. One of the During the 1890's there were two major bow box from those years, with the 47 bows he made for this noble patron was events for the family. The first was the crossed out and 94 penned in. It was in these for many years a part of the Hottinger entry, around 1891, of Alfred Tubbs into years when his work began to take on the collection, and came to us when we the firm, and its subsequent change in title characteristics which we today recognize as acquired the Wurlitzer collection in 1974 to James Tubbs and Son. Alfred, born in the classic Tubbs bow. Of special interest, in addition to its 1863, was already active in the early 1880's The early bows were branded "J. splendid craftsmanship and royal owner, as a bowmaker, but due to the close TUBBS." Around 1878 he changed this is his use of tortoise shell, especially similarity of his work to his father's, it is brand to "Jas. TUBBS." The change in the rare in a Tubbs work. difficult to tell when the hand of Alfred brand has sparked much discussion, but there These years saw the creation of the full enters the work of this period. We know is a logical explanation for the change. Tubbs bodied Tubbs bow which we know and from Meredith Morris, who knew both well, was obviously an artist, and proud of it. 7 of recognize today. The heads were broader, that Alfred's forte was bow restorations, a William's 11 children followed in the family smoother, and more elegant—no longer are task he could accomplish with unmatched profession, so that with William's death in they the lumpy heads of the previous decade skill, and so perhaps his role was handling 1878 Tubbs bows started to appear with a and the Hill years. The long ferrules, metal this portion of the business, freeing his profusion of brands. Among these brands are headplate, and long buttons with solid metal father for bowmaking. W. TUBBS, E. TUBBS, C. E. TUBBS, and caps became standard about this time. The The second major event was James' J. TUBBS. James had a brother John who sticks, as with virtually all of Tubbs bows, retirement, which occurred towards the end made and bows and who around 1888 were round. A notable feature is the use of of the decade, when he had reached his 60s. followed his brother Edward to New York the wedgeless ferrule—a ferrule which With his son experienced in managing the City. The presence of John's brand allows room for only the proper number of business, he may have felt free to leave the hairs. Tubbs responsibilities to him. His 2 home in these years was Ashford, near Staines, and he continued to visit the shop on an infrequent basis. We know that he continued to work, and the many fine bows Second Fiddle made during these years undoubtedly came from the bench in his home. PART TWO To what extent either of these events influenced his major stylistic trend of these By PHILIP J. KASS years is not known. This trend was the elimination of the small pearl dots facing the walls of the frog. This occurred in One of his Guarneris, along with a Hill Little publicized are the fine 1894, and we know it because Tubbs told fleur-de-lys bow that he favored. was instruments of the 'Venetian' School that this to Harry Dykes, the noted dealer, who bequeathed to the Library of Congress. It have long been recognized by our great was both a friend and neighbor in Soho. rests in most distinguished company, sharing soloists. Jasha Heifetz made his debut We can deduce several reasons for this; the exhibition case with five Stradivaris and with a Carlo Tononi, while Albert perhaps his sight, weakening in these late a number of Tourte bows which were Spalding began his career with a years, made this refinement a difficulty he donated by Mrs. Gertrude Clarke Whittall. Montagnana which he kept long after he had acquired several Cremonese was unwilling to undertake; or perhaps he For a second violin, Kreisler's choice masterpieces. Zino Francescatti still simply felt that pearl dots marred the lines was a Vuillaume. This was the one he plays the Sanctus Seraphin with which of the bow, and that they were more chose for many of his famous recordings he made his debut. satisfying visually without them. There is a that are now in the possession of growing roughness in the works dating collectors of historic record rarities. Violists and cellists are less fortunate in from these years and continuing into the their choice of solo instruments, for fine old later production, and one can agree that the Along with Kreisler's name we must add and celli are so scarce that many those of Sivori, Alard and Paganini in praise streamlined appearance of the plain frog is players are fortunate to have a single work of the great Parisian mastermaker entirely satisfying. Whatever other reasons of the old schools from which to choose. Yet Vuillaume. Henryk Szeryng plays a some have the good fortune to own more he might have had he chose to keep to Vuillaume as his second classic instrument. than one. Lillian Fuchs has both a Gasparo himself. The great works of J. B . Guadagnini have da Salo and a Goffriller. Watson Forbes, in There were no further changes in his not been forgotten by eminent soloists. his day had a favored Guadagnini viola style until the beginning of the second Many concert players have kept a 'J. B.' long along with his Stradivari. decade of the twentieth century, when a after acquiring one of the renowned cruel blow befell him—his beloved Cremonese instruments. Paul Kochanski, the The warm and generous Gregor Alfred died on November 3, 1911, at the Polish virtuoso, kept his two fine Piatigorsky was a noted collector and in his age of 49, leaving a 76 year old father and Guadagninis after obtaining excellent collection were two Stradivari celli, the his young bride a widow. This sorry event instruments by Stradivari and Guarneri. It is "Batta" of 1714 and Baudiot" of 1725. brought him out of retirement to run the known that Efrem Zimbalist backed his Jacqueline du Pre has that rare Wardour Street shop. As his wife had Stradivari with a 'J.B.'. Isaac Stern keeps his distinction of receiving two Stradivari, died several years earlier, his daughter-in- Guadagnini with which he began his career. one presentation being the renowned law cared for him in his declining years. In recent years, the work of two "Davidoff" of 1712. He was a familiar sight during this final nineteenth century Italian master makers, Some violists and cellists have come to decade of his work, strolling the streets of J. F. Pressenda and Joseph Rocca, have appreciate the highly regarded qualities of Soho, or having a drink in a local pub come to the fore, and an increasing the contemporary mastermakers. When with his friend George Wulme-Hudson. number of soloists are using fine William Primrose played a viola William examples of these two masters. August Moennig, Jr. made for him in place of his Now we can see the mark of time and age, Amati, the audience responded with equal for the bows are marred by the ever Wilhelm came to appreciate Pressendas warmth, unaware of the change in the increasing roughness of an unsteady hand and owned several of them. Rafael After lengthening his sticks in the middle Druian, who plays the magnificent instruments . years, these late bows return to the shorter "Nightingale" Stradivari of 1717, also Lionel Tertis, believing his career at an lengths of his early works. Another change performs on a Pressenda when the mood end, disposed of his great Montagnana. is the appearance of the now legendary occurs. Oscar Shumsky finds his fine However, when he resumed his career he birthday bows, in which Tubbs, as Rocca a satisfying alternate to his decided to design a viola and helped to Stradivari before him, celebrated his Stradivari, the Rode of 1715. Alfredo advanced age. create the Tertis model with Arthur Campoli has been so impressed with the Richardson, the English violin maker. James Tubbs career ended at the age of craft of Rocca that he owns several of 86 on April I 9 , 1921 . Rocca's early works. Also among his When we hear a soloist in concert, favored instruments are fine examples of can we know whether he is playing his This article has been excerpted from a history of Vincenzo Postiglione, a friend of his, and beloved first choice. or his favorite the Tubbs family soon to be published in the others by Guiseppe Pedrazzini and 'second fiddle'? Journal of the Violin Society of America Giovanni Gaida. 3 Albert Spalding Remembered

In the realm of creative art, few works acclaim in a quiet attitude, ever grateful are preserved as well as those of for the gifts with which he was endowed, painters and sculptors, in museums, and felt fortunate that his world was libraries and private collections. Music appreciative. performed by voice or instrument, in His career coincided with that of Mischa comparatively recent years, has been recorded for replaying, but the live Elman, Jascha Heifetz and other Europeans performance of the concert artist ends in this country who were of the Leopold Auer with his last note on the stage. It is school. unlike the visual arts which may be Spalding was the American Violinist to viewed repeatedly and at leisure after appear at the famous La Scala Opera its creator has left us. A case in point is Albert Spalding at the peak of his career. A studio our own, born in America, Albert House in Milan. Among the five others photograph that appeared in his publicity on tour. Spalding, a concert violinist of renown who appeared before he did were Paganini, during his lifetime, acclaimed around Sarasate and Kreisler. He was the first the world by critics, composers and American Violinist to appear as soloist violin is a prominent knot in the wood on its connoisseurs of his day. with the Paris Conservetoire Orchestra. front. It has been said that Guarnari was not The other two soloists were Kreisler and too fussy about his choice of wood, and Aside from a few little publicized Ysaye. He was a surprise and later a great certainly this proves the point. recordings of an early time in that pride to musical America. In 1941 Albert Spalding premiered the technique, there is on view in the Perhaps this issue of "World of Strings" may Barber playing this Berkshire Museum in Pittsfield, be in the hands of someone who knows of instrument with the Philadelphia Massachusetts, two elegant rooms taken other Spalding mementos or possessions. Orchestra, conducting. from his home in Great Barrington. One Meanwhile, we have this interesting anecdote In 1966, shortly after I became concert- is the music room and the other, the by the present owner of the Spalding master of the , by dining room. And there is a modest but Guarnarius del Gesu: sheer coincidence, twenty-five years later elegant collection of Chinese artifacts, "In 1965 I acquired the Spalding Guarnarius almost to the day, l played the Barber acquired during his concerts in China and del Gesu dated 1743. Aside from the unusual Violin Concerto on the same violin, and bequeathed to the Museum. amount of original varnish, one of the with the Philadelphia Orchestra, Eugene Taking sufficient time while visiting the distinguishing features of this Ormandy conducting. Someone remarked Museum, one begins to feel the presence and to me that the violin already knew the quality of the mind and character of the man Barber Concerto and all I had to do was Spalding and of his lovely wife Mary, and of Norman Carol, the present owner of the Spalding Guarneri, with William Moennig 111. get it out! the life they had. Needless to say, it has been a great joy to He was a man of determination and courage, play this remarkable instrument, and I am with a magnetic ability to make and hold indebted to William Moennig II for his friends wherever he traveled. advice and assistance when I acquired this He was born in 1888 and lived until 1953, fine violin. and had a picturesque career during World I have some recordings of Spalding playing War I as an aide to the mercurial Fiorello "our violin" and not only am I thrilled to hear LaGuardia, a congressman who ultimately its sound, but also his beautiful playing." ran New York City as its Mayor. However, Spalding began playing the violin For anyone interested in reading at age seven, and when he was graduated further of the life and experiences from the Bologna Conservatory at fourteen, of Albert Spalding: Rise to Follow— he received the highest honors accorded Autobiography of A. Spalding, anyone since Mozart. His American debut 1943 Henry Holt & Company was made at Carnegie Hall in New York City, The Accompanist— with the New York Symphony and Walter an Autobiography of Andre Benoist 1978 Paganiniana Damrosch as Conductor. This modest and My Musical Life— unpretentious man went on to gain worldwide Walter Damrosch, 1926 Scribners (short references to 4 Spalding.) EXCEPTIONAL VIOLINS FROM OUR COLLECTION

GIOVANNI FRANCESCO PRESSENDA, Turin. 1842 GIUSEPPE CERUTI, Cremona, c. 1810 For the serious player. We are pleased to offer this exceptional work by a great Strikingly handsome both visually and tonally, this rare work by one of the last of Italian master. This fine specimen was originally in the collection of Gioacchino the classical Cremonese was made in the shop of his father Giovanni Battista. Guadagnini, G. E Pressenda's first patron. Featured in the January 1951 issue of 'The Strad'.

The editor of World of Strings would appreciate comments on this issue and some suggestions for articles for future issues.

reputation for acquiring fine instruments and and protected with that firm's valued A Bargain? bows for generations will invariably have a Certificate of Authenticity and the added broader selection from which to test, compare, assurance that its knowledge, experience, By WILLIAM MOENNIG 111 evaluate, and choose. and intuitive abilities enable it to offer 2 Repairs That firm's shop should be at realistic periodic re-evaluations. The buyer the disposal of any instrument they offer, therefore, in purchasing an instrument, is We receive occasional requests from and an instrument in need of repairs or assured that he is dealing with a skilled those cautious and rightfully concerned adjustments will have them completed and reputable firm which stands fully behind its instruments and bows; which enough to ask our advice about an before being shown to a prospective certifies and appraises them; and offers its instrument being offered for purchase by purchaser. There is the added assurance wares properly repaired and adjusted, to a "private" individual, or as someone and confidence in knowing that the enable a prospective purchaser to compare humorously once described these private establishment will be willing to accept the individuals as "suitcase dealers". and choose from a number of instruments instrument for any future repairs or and bows in ideal playing condition. Invariably the first answer given to the adjustments. 3 Expertise Expertise in the logical question: "What has persuaded you to violin field, as in all fields, comes from We, at William Moennig & Son, pride choose this instrument without more care?" the continuing study of the instruments in ourselves on the quality and variety of our is: "It could be a bargain" or, to borrow an themselves. This can only be found in a collection; on the excellence and expression often whispered or suggested in firm which has not only constant exposure dedication of our staff, and on our Exhibition Rooms of some Auction Houses, to the works of the great Masters, but of knowledge and expertise in judging, a "sleeper". great importance today, to the less evaluating, and authenticating fine There are, however, in my mind at least, heralded and obscure works that are as yet stringed instruments and bows. four vital points which one should consider to be fully appreciated. We are dedicated to continuing to provide when investing in a fine musical instrument: 4 Appraisals Purchasers of instruments from the courtesy, outstanding service, and 1 Selection An established firm with the an established firm have the confidence that professional concern which were introduced 5 their investments are enhanced by us to the world of strings in 1909.