P RE FAC E

RM N ! Co . HE A , CLA have had so many calls

from their customers for really authentic old

instruments that the necessity arose of adding

to their large stock of violins a fine collection

of old instruments .

These were picked up in the various violin centers of

f Europe by their own buyers , were care ully selected , and

! are of undoubted age and merit .

Co as Sherman , Clay . , have endeavored as near

possible , to have a collection that would be representative of — : the various schools as known to day , viz Brescian , N Cremonese , eapolitan , Venetian , French , German ,

etc — English , the instruments making up the collection f varying in price rom upwards .

Clemo n Antonius Stradinarius nefi s Facieb at Anno 1 ]

Origin o f the V i o lin

A Sh o rt H is t o ric a l Sk etc h o f th e V ario u s

Vio lin Sc h o o ls , W ith a Lis t o f

th e Princ ipal M a k ers .

The double bass was the first of the violin family as f now known , ollowed by the Violoncello , the viola and

t 1 0 lastly the violin abou 5 4 , and so great was the genius of these early makers , that the violin , as originated by them , has not to the present day been improved upon , in ! fact the work of Stradivarius and others has never been for equaled by modern makers their high finish , beauty f of o varnish and purity tone . 8 i I umné OF T H EVIOLIN

1 2 - 1 6 2 0 Gasparo da Salo , Brescia , 54 , is the first known of maker violins , though this distinction is claimed by German writers for a Germ an at an earlier period and for also by French writers a Frenchman , yet at the present da date , no violins earlier than those made by Gasparo Salo

fewof . are known to exist , and very his of Taking then Gasparo da Salo as the first maker violins , P a we have in succeeding years Giovanni aolo M ggini ,

’ 0- 1 6 0 f 1 o . Brescia , 5 9 4 , a pupil da Salo s Contemporaneous with the Brescian makers were those of Cremona , where the violin industry reached such a of f of degree per ection , that it has excited the wonder the civilized world to the present day .

1 0- 1 8 0 , C , f Andreas Amati remona 5 3 5 , was the ounder of C of V ; the remonese School iolin Makers his sons ,

1 0- 1 6 Antonius and Hieronymus , 5 7 35 , succeeded their f N ather in business , it then descending to ikolaus Amati ,

6 - 1 6 8 of N 1 . 5 9 4 , the son Hieronymus ikolaus Amati was of f the greatest maker this amily , his work being hardly of second to that genius them all , Antonius Stradivarius ,

1 6 - 1 44 7 37 , who was his pupil and worked with him ORIGI N or T H E VIOLI N 9

1 6 0- 1 0 several years , as did also Henry Jacobs , 9 7 4 .

‘ 1 6 2 2 - 1 6 8 0 P Giovanni Baptista Ruggeri Jacob Stainer , ; aolo

1 6 0- 1 6 0 1 6 0- 1 2 0 s Albani , 3 5 ; Francesco Ruggeri , 7 7 ; Andrea

1 6 2 - 1 6 1 6 0-1 20 Guarnerius , 5 93; C . Testore , 9 7 and others .

The really great makers of the Cremonese School

1 6 2 - 1 6 following Amati , were Andreas Guarnerius , 5 93;

1 6 0- 1 2 0 1 6 0 Francesco Ruggeri , 7 7 ; Guiseppe Guarnerius , 7 1 7 30; Joseph Antonio Guarnerius ; 1 6 8 3 Francesco

1 6 1 - 1 Omob onu u 1 6 Stradivarius , 7 743; Stradivari s , 7 9

1 2 1 6 0— 1 2 P 7 4 ; Lorenzo Guadagnini , 9 7 4 ; ietro Guarnerius ,

1 6 0- 1 2 1 9 7 5 ; Giovanni Baptista Ruggeri , 7 Giovanni

1 1 1 - 1 8 6 1 1 6 Baptista Guadagnini , 7 7 ; Carlo Bergonzi , 7

1 1 0- 1 60 7 47 ; Michael Angelo Bergonzi , 7 3 7 ; Lorenzo

— n 1 6 1 . Storio i , 7 9 799

While the violin industry reached its greatest perfec of tion in the small Italian city Cremona , there are quite a number of other cities that can justly claim having had makers whose work , in many respects , can be classed as being of the same standard as the best ofthe Cremonese makes ; this is also true to a certain e! tent of France r and Germany . Taking then , the Italian cities fi st , we

f N — 1 6 0- 1 2 : have rom aples Alessandro Gagliano , 5 7 5

N 1 6 - 1 0 1 00 icolaus Gagliano , 95 74 ; Gennaro Gagliano , 7

1 0 1 0- 1 8 0 i 7 5 ; Ferdinando Gagliano , 7 4 7 ; Gu seppe Gag

1 — 1 00 liano , 7 From Venice Domenico Montagnana , 7

1 0 u 1 1 0- 1 8 G obetti 7 4 ; Sanct s Seraphin , 7 7 4 ; Francesco ,

6 0- 2 0 1 68 0- 2 0 B ellosio 1 2 0 1 8 1 . 1 7 ; V Castro , 7 ; Anselmo , 7 ' io ORIGIN OF T rIE VIOLIN

1 8 0: — m m 7 From Bologna Carlo Tono i , Giovanni To oni ,

1 T ononi 1 1 6 -1 0: 7 Carlo Antonio , 7 74 From Milan P G rancino 1 66 - 1 6 0 n P G rancino aola , 5 9 ; Giovan i aola ,

6 6 - 1 1 6 0- 1 2 0 1 9 7 35 ; Carlo Guiseppe Testore , 9 7 ; Carlo

1 00- 1 0 P Antonio Testore , 7 7 3 ; aola Antonia Testore ,

1 1 0- 1 Ferdinandus andolfi 1 0- 1 60 7 7 45 ; Carlo L , 7 3 7 ; David

T echler 1 68 0- 1 0 Dulfenn , Rome , 7 3 ; Alexander , Livorno ,

1 00 1 00- 1 0 7 ; Camillus Camilli , Mantua , 7 74 ; Vincenzo Panormo P 1 0- 1 8 1 , alermo , 7 4 3; Tomasso Carcassi , Florence ,

1 0- 1 2 0 Pressenda 1 74 7 ; Giovanni Francesco , Turin , 7 7 7

1 8 54 .

The French school of violin makers had quite an in fluence upon the violin industry , as their natural artistic taste led them quite early to perceive the superiority of of the instruments the early Italian makers , and so success ful were they in following the models as laid down by of in the best the Cremona and other schools , that the struments as turned out by them , rank with the very of e Of finest in selection wood , and b auty outline . ' 0R1 G IN OF T H E VI OLIN 1 1

: B o ua The leading French makers were Jacques q y ,

P 1 00- 1 0 Pierra P 1 00-1 2 aris , 7 7 3 ; Claude y , aris , 7 7 5 ; Jean

V uillaume 1 00- 1 0 e , Mirecourt , 7 7 4 ; Francois M dard ,

P 1 00 F G avinies P 1 0 F aris , 7 ; rancois , aris , 7 3 , rancois

u ot P e 1 6 - 1 8 0 P L p , lombi res , 7 3 4 ; Francois Vaillant , aris ,

1 8 1 0 N Lu ot 7 5 ; Ambroise de Comble , Tournay , 7 5 ; icolas p ,

P 1 8 - 1 8 2 P P 1 8 8 - 1 8 2 2 aris , 7 5 4 ; F . L . ique , aris , 7 ; Jean

V uillaume P 1 8 - 1 8 , ; C , Baptiste aris , 7 9 7 5 Francois hanot

r 1 8 00 P 1 8 01 - 1 8 Mirecou t , ; ierre Silvestre , Lyons , 5 9;

P Pacherele 1 8 0 - 1 8 1 ; C , ierre , Mirecourt , 3 7 George hanot

P 1 8 01 - 1 8 8 V uillaume P 1 8 0 aris , 3; Claude Francois , aris , 7 ;

P 1 8 1 0- 1 8 l Francois Gand , aris , 45 ; Charles Ado phe

Maucotel P 1 8 2 0- 1 8 8 , aris , 5 Claude Augustin Miremont ,

1 8 2 1 8 0 Mirecourt , 7 ; Hippolyte Silvestre , Lyons , 3 ;

P 1 8 P 1 8 0 Adolphe Gand , aris , 4 5 ; Eugene Gand , aris , 5 1 8 95 .

We now come to the German Makers , whose names are legion , but who did not in the large majority approach Of the work the Italian or French makers , yet there are a fewwho did turn out instruments Of real merit such as 1 2 ORI G I N OF T H E VIOLIN

the K lOz family and especially Jacob Stainer , who is con f Of f sidered the oremost maker them all , in act several Of English writers an early period , placed him above the

- best Italian school , though to day the Italian instruments

- stand pre eminent . f Of We give the ollowing list the German makers .

whose work was without doubt Of a high order :

1 6 2 1 - 1 68 Jacob Stainer , Absam , 3; Mathias Albani ,

1 6 2 1 - 1 6 1 6 0- 1 0 Botzen , 7 3; Mathias Albani , Botzen , 5 7 9;

K loz 1 6 0 Mathias , Mittenwald , 4 ; Markus Stainer ,

K f 1 6 K loz 1 6 0- 1 0 u stein , 59; Egidius , Mittenwald , 7 7 9;

K loz 1 6 T ielke Sebastian , Mittenwald , 7 5 ; Joachim ,

1 660- 1 6 0 1 6 8 0 , 9 ; , I Hamburg Johann Schorn nnsbruck , ;

K lOz 1 i Georg , Mittenwald , 7 M chael Albani , Botzen , 8 1 . 1 7 John Bapt Schweitzer , Carl Ludwig

1 1 6 - 1 8 00 Ulricus P ; . Bachmann , Berlin , 7 J Eberle , rague ,

1 0- 1 0 Achatius Stadelmann 1 0 7 3 7 5 ; Daniel , Vienna , 7 3

1 0 f 1 Withalm 7 5 ; Franz Ruppert , Er urt , 7 Leopold ,

- Niirnber 1 6 1 8 8 . 1 0 g, 7 5 7 ; C Rausch , Breslau , 7 5 ; Martin

D 1 0 N Do fer 1 6 8 iehl , Mayance , 7 7 ; ikolaus p , Mayance , 7 ;

1 1 8 - 1 8 Christian Friedrich Hunger , Leipsic , 7 7 7 ; Jacob

u O 1 6 2 - 1 8 0 K loz A gust tto , Weimar , 7 3 ; Joseph , Mitten

1 au 1 60 wald , 7 7 4 ; Johann J g , Dresden , 7 ; Mathias

H ornsteiner 1 8 00 H ornsteiner , Mittenwald , ; Joseph ,

G eissenhof 1 8 1 2 Mittenwald ; Franz , Vienna , ; August

1 8 Riechers , Berlin , ORI G IN OF T H E VIOLIN 1 3

Mad e b y § 1 0 iPE1RR! and W ? WIEH IN s ON T I1 1 .

England presents quite a fewViolin makers Ofconsider m u for able erit , tho gh they never received much credit fol their ability , especially by continental writers . The

a Of : lowing is list the most prominent Jacob Rayman ,

1 6 20- 1 6 8 Pam hilon 1 68 London , 4 ; Edward p , London , 5 ;

1 Joseph Hill , London , 7 Henry Banks , Salisbury ,

1 P 1 7 eter Wamsley , London , 7 William Foster ,

1 1 - 1 8 01 1 1 Brampton , 7 3 ; John Barrett , London , 7 4 ;

1 - 1 8 0 William Foster , London , 7 39 7 ; Benjamin Banks ,

1 2 - 1 1 1 Salisbury , 7 7 7 95 ; William Hill , London , 74 ; Rich

1 0- 1 8 0 ffi ard Duke , London , 7 5 7 ; Thomas Dodd , She eld ,

1 6 - 1 8 2 Bernard Fendt , London , 7 5 3 ; Richard Evans ,

1 O T homas P 1 6 - 1 8 0 London , 7 5 ; erry , Dublin , 7 7 3 ; Samuel

1 8 - 1 8 2 6 1 8 00 Gilkes , London , 7 7 ; Lockey Hill , London ,

1 8 0 1 8 00 1 8 2 4 ; Mathew Hardie , Edinburg , 5 ; John Thomas

8 0 - 1 8 1 . Hart , London , 5 74 V i o lin Co n structi o n

We herewith present a short sketch upon the construc Of f Of t tion the violin , rom the works that eminent au hor

ffri 1 8 . o 6 G e . Chas , 7

F m o n t itu ent P a rt s T h e V io lin, l ts o r , C s ,

V a rnis h es , Etc .

The violin in its present form and outlines has rema ined

1 6 with only minute alterations , the same as in the th erfec century . Stradivarius brought it to the highest p n . O tion , but made no addition to its several parts the form or model depend s the quality or sound ; a high built of f n violin , like those Amati , Stainer , etc . , is so t in to e ;

’ ’ fi ri ni s at Sto o . built violins , like Joseph Guarnerius , , etc ,

— Of f are loud ten very power ul , with great carrying quali

f Of . ties ; the medium orm Stradivarius , his pupil , etc , f have both mellowness and power , and there ore , the most f satis actory quality . Of 8 The various parts the violin are about 5 . The back two Of t is either in one or pieces , the belly the fines quality

Of f 2 pine , made rom one piece , divided into , so that the 6 narrow grains joins in the middle ; the sides in pieces ,

1 2 fi n er the linings pieces , soundpost , bridge , neck , g

- urflin . board , nut , 4 pegs , blocks , p g , tail piece and strings

B elly a nd B a c k o f V i o lin

The most important part as to sound is the belly , the c e grain in the pine running straight and los together , CONSTRUCTION OF T H E VIOLIN 1 5 but as it cannot be found with the grain running at equal l f distances , it is usua ly ound best to have the finer grain

i in the middle , and let the larger run toward the sides . As to the proper thickness much depends on the quality Ofthe wood and the form ; fi at built Violins are thicker in wood than high built ones . Those violins which are Ofthe same thickness all over Of are either scraped out , which is very ten the case , or of badly made . The back is made hard wood , stronger , f and nearly corresponds with the belly in orm . The belly is the vibrating part , and the back must resist the pressure and great vibration , and throw the tone out , as it were , ff f f through the sound holes . The di erence o vibrations O back and belly ought to be like C to D .

The blocks , linings , etc . , in the violin , and the weight Of and position neck and head , have a good deal to do with the sound . Savard and others have proved that a Of violin without neck and head loses much its tone . A Of piece wood , usually ebony , called violin holder . has , t since the grea Violinist Spohr recommended it , come f Of much in use ; it acilitates the holding the violin , pro tects Of if that part the violin where the neck rests , and , f well made , so as to keep the pressure rom the vibrating Of part the belly , does not prevent the vibration as much

as the chin , and perhaps a large beard . The bar , a piece Of for of pine wood , the purpose strengthening and regu Of lating the quality sound , is thin at the ends , and gradu in ally rising height to the middle , runs under the G 1 6 CONSTRUCTION OF T H E VIOLIN

string about three -fourths Of the length of theviolin ; the

length , height , thickness and position depend on the build Of if Of the violin ; it is a new one , with plenty wood , the

bar need not be strong nor very long , nor fitted in with b ut much spring ; it may , indeed , be put in quite straight ; in an old violin , particularly in one rather weak , it ought of it to run in the direction the G string , right under , and with more wood and spring Init fully suffi cient to counter f Old O . act the pressure the strings The wood must be very , t T O and the grain run qui e straight . give the necessary spring to a bar , the best way is to cut it to the right size , f to see that it fits well in the place , and then be ore gluing it on to take a little Of the wood Off gradually from the d t middle to both en s , so tha it does not fit any more . Then when gluing it on it must be pressed on both ends If f . with a little orce , and kept down until dry and firm the third and fourth strings have not suffi cient force after O such an peration , the bar has not the proper position or

S . not enough pring , and must be changed The same if f must be done the notes will not come out ree , as then of there is too much spring given , and the pressure the ffi strings is insu cient to counteract it .

r - B id ge a nd S o u nd po s t .

2 of Finally , we come to small loose pieces wood called

s - SO bridge and ound post , or , as the French call the latter ’ fi Z am Of . 2 appropriately , , or the soul the violin These little pieces play a very important part in giving the CONSTRUCTION OF T H E VIOLIN 1 7

f - Of Old quality O the sound . The sound post is made very

pine , and loosely fitted into the violin ; the grain is f generally put crossways to that O the belly . The sound post has a nearly fixed position about one -quarter of an f Of inch behind the right oot the bridge , but its exact position is only to be determined in conjunction with the bridge . The bridge carrying the strings is cut in that peculiar form with the View Of having strength with the Of a least amount wood , thus producing the gre test amount

Of . Vibrations The height , width and thickness a bridge f ought to have , can only be calculated with re erence to Of of the model the instrument , The higher the build the violin the lower should be the bridge . Its position is

' i - usually between the two nches marked in the sound holes .

Varnis h es .

Oil . Varnishes are prepared with , spirit or other fluid It is the opinion of eminent men who have made re the Of searches as to the cause , why art making varnish

Of Old instru resembling that the masters is lost , as no f n ment , not even rom Italy , withi a century , can compare A of with a fine Strad , Joseph Guarnerius , mati or any Of the makers that period . It is believed the cause is that f the gum amber , or chie ingredient composing that varnish , came to the Italian markets about that time as a Of f Of regular branch commerce , perhaps rom the interior f for A rica , and has some reason discontinued so to arrive

- for or to be imported . Also genuine dragon blood , color 1 8 CONSTRUCTION OF T H E VIOLIN

ing matter , which is quite transparent , and easily dis in O f solved an ily fluid , is no more ound in the European of f markets , and the English imitation it is very in erior

and not so transparent .

T he Arra ngem ent o f t h e B rid ge a nd - S o u nd po s t .

Having said as much about the different parts Of the

s - violin , we return to bridge and ound post to explain what experience of many years with the best makers in P aris , London , and Brussels has taught me about it .

It is certain that most violins can be improved , simply

Of - by a judicious arrangement bridge and sound post , and one can tell by a few minutes ’ examination whether a a ro er Violin is well made and sound , has p p bar , and proper i Of - pos tion bridge and sound post . There is hardly a Violin Of the old makers to be found in its original condition , as the bar has to be changed to give more resistance to the present high pitch , which is , for Of in my opinion , too high the production the best quality ofsound . T O arrange a bridge on a violin according to the p osition Of any fingerboard is decidedly wrong . The bridge must be calculated according to the form Of the violin . A flat Stradivarius or Jos . Guarnerius , will carry

Of 1 1 a bridge inch and high , inches across the top , and a little less across the feet ; it should not stand qui te a w h the s straight , but slightly b ck ard , so t at trings over CONST RUCT ION OF T H E VIOLIN 1 9

f T O the bridge orm an even angle . save a good bridge ,

! for r cut one or two e tra notches pulling up the E st ings .

- The bridge ought to be tried with the sound post , in ff if di erent positions , to find out where it sounds best ; the Ofhav violin is a valuable one , and the player is desirous e ing it arranged in the best possible manner , s veral ff bridges , cut slightly di erent in height and width , ought to be tried , the best retained , and then only ought the a f fingerbo rd be adjusted according to the bridge , a ter which it must be tried again to see whether it sounds as ff Of ff well , as the slightest di erence place will a ect the sound . Whoever says that the proper places can be determined by the eye alone is wrong . I have found that repairers do not give that important

consideration to bridge and post which is necessary , and from the remarks Of some learned that they could not know much about it . I heard an instrument maker say to a gentleman who came to have a new bridge put on a Violin that he had the

’ ! of Sivori s e act model Signor bridge , and would make him a similar one ; such and the like expressions are absurd ; every violin must have a bridge fitted according

to its construction , and there are hardly two violins alike . It is true that many players come to instrument makers

asking how much will a bridge cost , and are not inclined to give more than about 5 0cents ; then nothing else can be expected than one put on quickly if it is a worthless 20 CONSTRUCTI ON OF T H E VI OLIN

if of instrument ; but a violin is well made , a good maker , of the u and some value , then instr ment maker ought to f advise a care ul trial with more than one bridge , as there ff Of is a great di erence in the Vibrating qualities bridges . ff Three bridges cut exactly alike , so that no di erence can ff of be detected by the eye , will produce di erent qualities

sound . It is also necessary that a tolerably good player ff Of should try the di erent degrees tone , as well as the of various positions during arrangements bridge and post . Nowif of Of f the quality tone a violin is very so t , a hard if bridge will give it brilliancy ; it is hard and loud , as f f O ten in new violins , a so ter bridge and more wood in f thickness , and the eet not cut too fine , will mellow the

tone , and this can sometimes be gained by a little thicker T he post being used . bridge moved nearer the post will if n give brilliancy ; moved too near the to e becomes hard . - The sound - post moved a little nearer the bar will soften the 2 d f to d th I st and strings , and give ullness the 3 and 4 ; if moved nearer to the sound - hole the first string will have I f more brilliancy . would , however , advise pro essors and amateurs not to make experiments on good violins them e selves , as the instruments are very asily damaged , but to get an experienced repairer or instrument maker to do it for them .

Strings .

The thickness Of strings is to be calculated according to

- of . the strength the violin A well made flat violin , with

( ’ rm C Q . Co . s She an , lay Co lle ctio n o f

Fine Old V i o lin s . The instruments that go to make up this collection are sold entirely upon their tone merits , which is really the Old most essential point about any Violin , either or new ; there has been SO much that is false in connection with the Old violin business that we take pleasure in presenting Of to those interested a line Violins and violoncellos , that no matter what the price may be , the party purchasing , can depend upon securing the value in an instrument for without paying double a name only , and that possibly

fictitious . e Whil our terms are cash , this is not absolute as we Of for of quite ten , the accommodation our customers , sell Of instruments this character upon time payments . Upon instruments sold upon installments we would re quire at least one - quarter Of the cost Ofthe instrument for to the first payment , the balance be divided into equal for monthly payments , provided by a contract , properly signed and indorsed . Old We take in part payment violins or violoncellos , and also will allow the full purchase price Of any Old violin or Violoncello bought Of us go toward the payment

Ofa better instrument . FI NE OLD V IOLINs 2 3

Matthais 1 8 0 t Neuner , 9, Mi ten

wald , Siz e .

Pric e,

k i Of The bac is in one p ece well selected wood , d the varnish is a reddish brown in color , the mo el f large , tone sweet , yet very ull .

German Copy o f Lorenz o Gua 1 2 dagnini , 7 4 .

Pric e,

f Full model in per ect condition , original scroll , of n the color the varnish being a reddish brow , full tone .

German School, Copy o f L. H op f.

Pric e,

The original neck and scroll are still intact , the Of back is in one piece well selected wood , showing

nicely through the varnish , which is a reddish f brown in color , ull large model having a strong tone . n v Ale ! ander Dulfen , Li orn o ,

1 6 95 .

Pric e, Of The back is in one piece , the color the varnish

is a red brown , laid on quite thick , scroll original , e ton strong and loud . 2 4 FI NE OLD VIOLINS

6 5 l C f 7 French Schoo , opy o Nic o l u t as L po , Paris .

Pric e,

Of The back is one piece fine selected wood , the Of ribs match the back , color the varnish a light

f . brown , large flat model , ull tone

l French Scho o , C opy o f Nicolas u L po t, Paris .

Pric e,

d The back is in two pieces , the woo in both back

and top being excellent , varnish is a light brown in m f color , the odel is large with a ull round tone .

l Fino ni Car o , V enice , 1 7 8 9.

Pric e,

The model is ra ther large and flat without much

arch to the back and top , the back being in one in piece , varnish reddish brown color , tone strong .

01 d t k Mar in Ma e , C opy of Gas

S l 1 . paro da a o , Brescia , 5 4 5

Pr ic e,

The back is in two pieces , varnish a yellowish

brown in color , the scroll , neck , top , back and ribs f Of all original and in a per ect state preservation , no f f cracks , ull power ul tone FINE OLD VIOLI NS 2 5

Lorenz o St orioni , Cremona , 1 7 4 5

Pric e,

K nown as thelast Ofthe great makers OfCremona .

The back is in one piece , the scroll is original ,

varnish a dark red , shaded toward the sides , model

large , with quite an arch in the top , the back being Of somewhat flatter , loud , clear tone considerable carrying power . tt l o Mi enwa d Schoo l, C op y f

Joseph 11 1 02 .

Pric e,

The back is in one piece , the original scroll has

been preserved , varnish yellow in color with a red in dish tinge , the wood the top and back is excel f withall Of lent , ull model with a very loud tone

considerable sweetness , showing the instrument has had considerable use . i l Jean Bap tiste V u l aume, Paris .

Pric e, f Of f A large ull model beauti ul outline , excellent wood in both top and back , lustrous varnish very Of red in color , showing to fine advantage the grain f f the wood , in per ect condition , no cracks , ull deep n f r o . responsive tone , a fine instrume t a soloist

Prague School, Copy of Bohe

mian V iolin .

Pric e,

The back is in two pieces , the scroll original , the varnish is a light yellow in color and well put on ,

is f . the model flat , being rather ull at the sides

The instrument is in fine condition, no cracks , tone f ood O g quality and quantity . 2 6 FI NE OLD VIOLI NS

l l French Schoo , C opy of C aude

Pi rra 1 7 0 . e y , Paris 9

P ric e, One piece back with original scroll , the varnish f is a reddish brown in color , ull model , with a very t m handsome ou line , the tone is very rich and ellow , r a fine instrument fo parlor use . t ’ V Domenico M o n ag nana , enice ,

1 7 2 0.

Pric e, in The back is in two pieces , with original scroll a tact , varnish golden brown in color , very attractive

in appearance , the model is rather broad , being flat

in upper and lower bouts , it is in good condition , what fewcracks there are having been artistically l repaired ; its tone quality will appea to any player , f l being very brilliant and u l . tt George Adam Gu er , Nurm

berg , 1 7 5 5 .

Pric e, f m A large ull odel with the original scroll , back

in two pieces , having ribs to match ; top an excel Oi Of Of lent piece wood broad grain , tone loud , fine — in O singing quality our pinion , a fine instrument for .concert work .

l l l 1 7 3 0. Nico o Gag iano , Nap es ,

Pric e , Deep model with the peculiar scroll ofthe Gagliano f amily , the back is in two pieces , with ribs to match , Of f color the varnish a beauti ul golden brown , worn in spots which gives the instrument a handsome h i f a t f . appear nce , e tone s very ull and power ul FI NE OLD VIOLI NS 2 7

l o Prague Sch o o , Cop y f Bohe

mian V io lin .

Pric e,

Of The back is in one piece , cut to show the grain to the wood the best advantage , the quality is very

fine , showing good judgment in its selection , color Of w Of the varnish a yellow bro n , tone loud and considerable carrying power . l Ferdinand o Gag iano , Naples ,

1 7 6 0.

Pric e,

The back is in two pieces with the ribs to match , varnish a reddish brown , the wood in both back and Of top is fine quality , showing the maker had a Of t Of the knowledge the acous ic properties wood , of f scroll is characteristic the Gagliano amily , being f f Of compact . It has a ull power ul tone great resonance .

i F r a n c o i s G ar z o n , C h a t e au

T hievray , 1 7 6 8 .

Pric e,

of The model the violin is large , rather arched at “ i . s the 77 holes The back in one piece , the Of original scroll is intact , color the varnish a golden brown , the top a little darker than the back , the varnish on the back showing more wear , no cracks on the back or ribs , two small ones on the top run f ” f ning rom the 77 holes , they have been skill ully f Of repaired , strong , power ul tone great carrying power . 28 FINE OLD VIOLINS

l French Sch o o , Copy of Gio . l i 1 Pao o Magg ni , Brescia , 6

P rice, urflin The back is in one piece , inlaid with p g f Of in ancy designs , the color the varnish is a reddish f brown , large flat model in per ect condition , no of patches or new wood , the tone is very strong and

fine quality .

J o h . Bap t . Schweitz er , 1 8 1 8 .

P ric e,

The back is in two pieces with ribs to match , the

varnish is a golden brown in color , with a reddish

tinge at the sides where it is quite thick , the model f is a beauti ul one in appearance , with back and top rather arched ; the instrument is in a perfect state Of

preservation , with a strong loud tone .

Andreas Amati , Cremona .

Pr ic e, m The violin has a one piece back , the ribs atch Of w ing the back which is fine selected ood , the Of color the varnish is a rich golden brown , through Of f which the grain the wood shows beauti ully , the Of model is one the best , top and back rather arched , Of with a tone great strength , yet possessing con r ble side a sweetness . i ’ r Sebastian Dal ng e , V ienna, 1 7 7 5

Pric e, u f f The instr ment is o a rather ull model , the outline

broad , the workmanship being very artistically ex ecuted w , the varnish is a rich reddish bro n in color , c f of s roll original , tone is ull , great resonance .

FI NE OLD VIOLINS

l l Georg K o z , Mittenwa d , 1 7

Pric e,

The ribs match the back which is in one piece , the wood Of both back and top being of the best Of quality , the scroll is genuine , color the varnish a f beauti ul reddish brown , evenly applied , the whole f Of instrument is in a per ect state preservation , the fewrepairs that were necessary having been skill f ully done , model is broad and flat , outline being Of very symmetrical , very strong tone considerable sweetness .

L. H op f.

Pric e, The name Hopf is stamped into the inside Of

the Violin where the label should be , the back is in Of f i one piece wood , with a beauti ul gra n , showing good judgment in its selection , the varnish is a red and flat brown in color , model is large , the violin i f Of be ng in a per ect state preservation , no cracks or worm holes , strong characteristic tone , very responsive .

Jacobus Strainer , Absam , 1 6 6 3 .

Price,

The back is in two pieces , the original scroll is still intact , rather large model , in fine condition , no cracks or new wood , the varnish is a reddish brown Of f in color and a great deal it , a ull characteristic f tone , so much sought a ter by those who copy the for Stainer model , in our opinion a fine instrument solo playing . FI NE OLD VIOLI NS 31

S t K l l M tt l ebas ian o , i enwa d ,

1 7 5 3 .

P rice,

Of f The back is in one piece , beauti ul selected

wood , with ribs to match , the varnish is a lustrous

golden brown in color , through which the grain Of

the wood shows to the best advantage , scroll is Of d genuine , a characteristic esign , a medium model 0 somewhat arched at the 77 holes , the tone is strong Of and very sweet , yet great carrying power . A fine for instrument an orchestra player .

. l B res cia l7 3 0 Gio Pao o Maggini , ,

P ric e,

Of “ The back is in one piece well selected wood , both top and back being inlaid wi th purfling in f l ancy designs . Varnish a ight brown in color , the Of f grain the wood showing through it beauti ully . n f The violi is in per ect condition , yet having had enough usage to perfect its tone which is strong

and loud , with considerable carrying power .

‘ Aeg id ius K lo z , Mittenwald , 1 7 1 6 .

Pric e.

The back is in two pieces , with ribs to match , scroll genuine , the varnish is a light brown in color , h the top aving more than the back , which shows more usage . Model is large , with a rounding arch , P f the violin as a whole is in fine condition . ower ul tone Of remarkable carrying power . 32 FINE OLD VI OLINS

in r Joseph H o rns te e , Mitten 2 wald , 1 7 4 .

Pric e, This is one of the best instruments made by that in f maker , it is per ect condition , not a crack in the of body the instrument , the neck being the only new

part , the original scroll still preserved , the varnish n is a rich reddish brown , showi g very finely on the f f O . back , which is a beauti ul piece wood The tone

is all that could be desired , possessing the necessary

quality , with great carrying power . l German School, Copy of Nico as

Lupo t, 1 8 1 3 .

Price, of Of The back the instrument is in two pieces ,

finely figured wood , through which the varnish , f which is a dark red brown , shows beauti ully . The

model is medium without any cracks , the original

scroll and neck are intact . Tone is very fine , being f ull , rich and mellow , with great carrying power . t f An instrumen any one could be proud O . i l l Aeg d ius R o z , Mittenwa d , 1 7 91

Price,

The back is in two pieces , the varnish is light in

color , very attractive in appearance . Rare judg Of ment has been shown in the selection the wood , especially the back which has been so cut as to show

the grain to the best advantage , the sides match the few back , there are very cracks and these have been f skill ully repaired . The model is large and flat , f with a power ul sweet tone . FINE OLD VIOLINS 33

l Leopo d W ithalm, Nurmb erg,

1 8 1 0.

Pric e, The initial W is burned into the inside Of the

back just below the label , the back is in one piece of f beauti ully figured wood , with sides to match , Of the color the varnish is a rich light brown , the

scroll , neck , ribs , top and back are all genuine , the f instrument being in per ect condition , only two small cracks on the top which have been artistically re a f Of paired . Medium model with ull rich tone

particular sweetness .

J oseph Rlo z , M ittenwald , C o py

of Nico laus Am ati , 1 6 4 7 .

Price,

f Of ’ A beauti ul specimen the Luthier s art , the back of is in two pieces selected maple , with the ribs to Of match , the top is very fine , showing the skill Of these early makers in the selection their wood ,

the instrument as a whole is in fine condition , what few f cracks there are having been skill ully repaired ,

the varnish is dark brown in color , shaded toward f the sides . The model is ull , possessing a very f Of w strong and power ul tone great carrying po er ,

yet notwithstanding of considerable sweetness .

O ur Pro fes s io nal Cata lo gue Co nta ining a f N ew i li Co m plete Lis t o V o ns , a il B o ws , Strings , E tc . , M ed o n A lic atio n Up pp , Fine 01 d V i o l o ncell o s .

698 German School, C op y of Gas

paro da Salo , Bres cia .

Price,

Of Back and top excellent wood , well matched ribs , Of the l f the color varnish is a ye low brown , ull size model having the characteristic 17 holes Of and f instru da Salo , the tone is rich ull . A fine for ment an amateur .

5 1 anu ariu l l 4 G s Gag iano , Nap es ,

1 7 5 0.

Pric e,

r f A fine St adivarius model , the back a beauti ully Of Of figured piece wood , the top a straight grain ,

varnish a yellow brown in color , very little worn , f the instrument as a whole being in per ect condition ,

f Of . the tone is ull and loud , great carrying power A full lined case made especially to fit the instru

ment is included . FI NE OLD VIOLINCELLOS 35

5 0! Joannes Baptista Guadagnini ,

Turin .

Pric e,

A beautiful model Of the finest workmanship with

very fine quality wood in back and top , showing rare Of skill in its selection , the color the varnish is a

rich golden brown . The instrument is in fine con f Of dition , the tone being ull and rich , great carry f fit ing power . A ull lined case to instrument is

included .

699 co St Ab s om 1 6 0. J a bus ainer , , 7

Price,

’ of A very fine specimen this maker s work , f beauti ul in outline , the wood in both top and back Of Of the very best , showing the judgment the maker

in its selection , the varnish is a rich yellow brown Of in color , well preserved , a pleasing tone great y power . Agreeable to play , being ver responsive Of for to the touch the bow . Just the instrument a

soloist .

0ur Pro fes s io na l Cat alo gue c o nta ining a l l c o mp ete is t o f new vio lins , b o ws ,

’ s tring s , etc . , m a iled upo n

lic at n app io . Fine V i o lin B ows .

C . F . Albert P ernambuco wood , octagon stick , beauti f fi f ully nished , ull solid silver mounted , long fine silver button , very elastic , well balanced , ebony frog $ 2 5 00

T ourte M o d el, Paris . P k ernambuco wood , octagon stic , beauti ful f ebony rog , pure silver mounted , selected for its strength and elasticity $ 2 2 50

Bausch M odel. P f ernambuco wood , round stick , ebony rog

inlaid with pearl and mounted in silver , fine workmanship

C opy of Bausch . P ernambuco wood , round stick , selected on Of f account its strength and per ect balance , 2000 solid silver mounted , button solid silver $

T ourte M odel. P ernambuco wood , octagon stick , beauti ful f ebony rog without eyes , pure silver mounted , rare workmanship .

38 FI NE VIOLIN B OWS l09 u 7 L po t, Paris . P ernambuco wood , octagon stick , hand somel f f y finished , ebony rog , ull silver 1 0 mounted , solid silver button , well balanced $ 7 5

1 095 Bausch Model.

P f t ernambuco wood , round stick , per ec fr t 1 0 balance , fine ebony og , solid silver moun ed $ 7 5

IO96 Tubbs M o del.

P ernambuco wood , round stick , selected for t f f its balance and elas icity , ebon y rog , ull

silver mounted . 1 7 50

- Laberte H umbert.

A beautiful selected piece Of pernambuco o Of the wo d , round stick , best workmanship , w d d strong and ell balance , pure silver mounte , with solid silve rbu tton

V o irin Model.

P t ernambuco wood , round s ick , finest eb onv f workmanship , well balanced , rog , pure silver mounted

V o irin Model. P ernambuco wood , round stick , finely f f S finished , ebony rog , ull ilver mounted , superior playing $ 1 5 00 q FI NE VIOLIN B OWS 39

T ourte Model. P o ernambuco wo d , round stick , fine ebony f f rog , ull silver mounted , solid silver button Ofnew model $ 1 3 50 l Matthias Albani , Ty ro . P ernambuco wood , selected round stick , f f fine workmanship , wide ebony rog , ull silver

lined , long solid silver button , strong and 1 0 00 elastic . $ l Matthias Albani , Ty ro . P ernambuco wood , selected octagon stick , f f fine workmanship , wide ebony rog , ull

silver lined , long solid silver button , strong and elastic $ 1 0 00

Bausch Model. P ernambuco wood , round stick , selected , fi ne f f ebony rog , ull silver lined , well bal anced

V uillaume Model. P t f ernambuco wood , round stick , beau i ul f f ebony rog , ull German silver lined , inlaid

with pearl . . l Matthias Albani , Ty ro . P ernambuco wood , selected round stick , f f fine ebony rog , ull German silver lined ,

pearl eye , ivory tipped

Matthias Albani , Ty rol. P d ernambuco woo , selected octagon stick , f f fine ebony rog , ull German silver lined ,

pearl eye , ivory tipped

V R r io lin epai ing. Adjusting and u T o ne Reg lating.

It is absolutely necessary to entrust fi neviolin work to Not experts . one workman in a thousand who repairs d Violins to ay can properly be classed as an expert , nature

must needs fit a man with the artistic temperament , for Of patience , infinite capacity taking pains and years f m Old experience , research and a iliarity with master

Violins , such as to be had only by an apprenticeship of Old served in the art centers the world , an absolute necessity to produce what we esteem a fine violin maker

and repairer . We have such men in our employ and their experience of and honest advice is at the service our patrons , our e charges are moderate , our work abov reproach . We would be pleased to have you consult us in reference f to to repairs , urnishing you with estimates as cost , also the opinion Of our experts as to the amount and character of repairs necessary to produce the best results . 4 2 VIOLIN REPAIRING

We herewith present a fewphotographs of a violin in Of its various stages construction , all the work was done in our own workshops by experts in our employ . This work for its careful atten tion to de tail must be seen to be appreciated . We also show various pieces Of Old spruce and maple for backs , tops , ribs , bass bars , sound posts , etc . This for wood was gathered in Europe , especially us to be used of Of in the reconstruction valuable violins , most this f 1 20 Old wood being ully years .

io n eck and Sc o inFou Sta es of its onst ti n V li N r ll r g C ruc o .

N O l— PieceofOld ma e w t out ine awn ea for cuttin pl , i h l dr i g r dy g , 2— Out e es n ea f r s o sc o to b ecut. id d ig , r dy r ll 3— P n a t fi s e sc o ea forfi n s n touc es. r ly i h d , r ll r dy i hi g h 4 — F n s r a f e e or o s n . i i h d , dy p li h i g VIOLIN REPAIRI NG 43

V IOLIN PAT TERN S.

l— An on o tra variu M f r t i S di s odel o ff h ol es. 2— J oseph G uarneri us — P M n 3 G io. aol o aggi i 4— J oseph G uarnerius S— N icolo Amati 6 — Iacob Stainer — P m f r fi n 7 roper odel o ger b oard . 8 — Mo e for A ntono St a va us eck a d l i r di ri N nd Scroll . 9 J oseph G uarnerius N eck and Scroll

46 VIOLIN REPAIR ING

V IOLIN MA T E RIAL

— N . l A eceof Ol ma efor b s r o d ea forcuttin nto o e en t s. pi pl ri , dy g i pr p r l g h 2— Old eceof woo forsoun osts ea for cutt n pi d d p , r dy i g — 3 Fi nish ed sound post. 4— woo r b ass b a s rea f r fo o cuttin . old d r , dy g — a S Finepi ecesel ected m pl eforb ack . — 6 Fi ne piecesel ected sprucefortop. V l n an n m i o i d Pi a o Co po s i ti o ns .

Upon the following pages we have listed a few Of the Of standard pieces violin and piano music . This list f comprises but a small portion O the stock we carry . f Complete catalogues urnished upon application .

47 F st F nt s e D. O . u ALARD , , p , a a a i ART T n d O . O . 4 Sou e e e n , J , p , v ir B lli i

S 1 2 n t s 4 o u es e c A . . So B CH , J , a a , v l m , a h SuiteSonata and Fugue(David) Chaconne(Schumann) 2 Conce ts He nn e c r ( rma ), a h Wilhelm Air onG String (A . j) e t t on Ave 1 st eu e ouno M di a i , Maria , Pr l d (G d)

K Rom nz BEC ER , J . , a a 40-50T o o nces T O . w O L . V ON R BEE H VEN , , p , ma

O . 46 e e p , Ad laid n t in O . 47 K eut e So p , r z r a a A nce to in O . 61 o p , C r D 1 0Sonatas R ondo and Variati ons Z n to e c G . 4 Co ce s BI ET , , r , a h N 4 e tuu o e M . e O . 1 7 O O C. 8 B H , , p , , P rp m M bil N e on O . 1 8 7 O. 5 S u S p , , l mb r g an O . 1 8 7 NO. 6 L e p , , dl r 2 Conce to in no M. O . 6 BRUCH , , p , r G mi r K Nidre O . 47 ol p , C M cle et HA INADE , C Air Ball Callirh oe La Livry Pas des Amph ores Pierette Scarf Dance 4 8 VIOLI N MUSIC

F C OP . 1 8 u s H IN , , Maz rka 8 N octurnes 8 Waltzes N 2 ctu n r O . 9 O. o e Sa asate p , , N r ( ) N u ne Wilhelm O 37 O. 1 oct P , , N r ( j) F n eon CO A. L o o w t e L RELLI , , a li i h Cad za ( ard) A O 3 ’ f he Cz 1 B ULK A . . 5 6 Lo e s e te t , , p , v Dr am A r Ball ’ Am DANCLA C. O . 66 Re e e o e l itie , , p , v ri , H mmag a

F nt s e O . 8 3 6 E s es c p , a y a a i , a h e c O . 89 6 s es p , Air Vari , a h O 1 1 8 6 u u ( 1 p , F A n . nd r n R ss i A . 6 D D . O I t o a t o s on u n r VI , , p , r d Va ia i ia 1 6 n anteand Sc erzo C cc s O . o o p , A d h apri i D RI T H D Air N in E BE O C . E. O . 7 are o. 5 E , p , V i , O 1 2 e No. 6 in p. , Air Vari , A

. 1 in O 5 e NO. 7 E p , Air Vari ,

n N 6 . in 0 o e to O. O . 7 c p , C r , A

O . 7 6 n t N in Co ce o O. 7 p , r , G 00 en d et O . 1 Sc e e p , Ball

D B S L. se Pas des F eu s ELI E , , Val Naila ( l r ) 0N 1 e T r m A B . 1 D SS O . O. Re e au erei E U , , p , ( v ri ) D K . 06 Son tas e nn USSE . L. O 2 H , J , p , a ( rma )

’ Amo r E GA E. S ut d u L R , , al T W 1 0 l e E S H . . O . E e RN , , p , gi 1 Ot F nt O . 1 el o s e p , l a a i 1 C n l of en O . 8 ce p , ar iva V i 2 n n O . 2 Hu e o es p , garia M l di 23 Con e t F n O . c S o p , r harp mi r

F 1 0 octu nes e nn . H IELD , J , N r ( rma ) AB Cn u nt ne G RIEL, MARIE , i q a ai N \V 6 A . O . Son t . o G DE , , p , a a , A majr 2 n n O . 1 So t o p , a a , D Mi r VI OLI N MUSIC 49

- E1 Lo nda Bal GILLET , , i

G O — e ceuse oce y n DARD , B B r , J l n f eanned ’ Ar G O O C. s o O c UN D , , Vi i J 4 u o es en S tt G E. O . 6 GRIE , , p , H m r k ( i ) O 8 Son t 1 F p , a a ,

O . 1 2 8 L c eces B oo I p , yri Pi , k 1 3 Son t II O . p , a a , G 1 9 N 2 o ess on e s O . O c p , , Bridal pr i ( a y) Bridal processi on and Carnival ( Sauret) R omancefrom theString -Quartet

Al e es S tt O . 28 u L p , b m av ( i ) we n nces S tt O . 35 o D p , N r gia a ( i )

- 36 Ce o Son t . et O . p , ll a a , arr ( P ri ) oo II O . 38 L c eces p , yri Pi , B k nd 47 c eces oo III O . 43 a L p , yri Pi , B k

4 on t III Cm. O . 5 S p ; a a ,

4 6 ee nt-Su te— I S tt O . p , P r Gy i ( i ) Introducti onfrom Sigurd J orsalfar

8 Son s S u et 2 oo s e c g ( a r ), B k , a h n e G UNG . O e L, J , b rla d r o HA . F. L NDEL , G , arg Sonata inA (David) A M 1 03 Son tas O . H PT M . AU NN , , p , a eSon HA S M. C U ER , , radl g enn Son O . 24 p , Ev i g g HungarianRhap sodie

n s t out o s 2 V Ol. e c So g Wi h W rd , , a h

n t s H ! . 8 So ) A DN , J , a a , (David

MA F 1 5 E s eces HER NN , . , a y Pi 60P opular M elodi es 47 Operatic M elodies 34 March and Dance Melodies

2 s F n s es e S L. O . 7 5 1 E a ta c J AN A , , p , a y i , a h 50 VI OLI N MUSIC

LA G G . F owe Son N E , , l r g L B F eand o on se AU , Ballad P l ai M n L A . . O . 3 So t ECL IR , J , p , a a

NO. 2 on O . 7 C ce to p , , r

L O H . O . 2 Sou en de H n E NARD , , p , v ir a yd n F O . 1 5 t nt s e p , Gra d Mili ary a a i AG P n S . Inte e o C e Rust c MA C NI , , rm zz , avall ria i a a ’ T ns st u ASS . L S e M ENE , J , Virgi a l mb r

F h nes e c SSO . 2 S o MENDEL HN , , ymp i , a h 36 Songs with out Word s

0 n on e ss O . 3 S S p , pri g g ( W i ) n mno O . 64 o ce to E p , C r , i r M I B 1 n N in n O Co ce to o. 5 o UE . O . 2 L Q , , p , r , , A mi r O Z K W M O 2 n S O SK . . 1 S s nces M I , , p , pa i h Da 1 n t O . 5 Se e p , r a a N 1 lo e O . 1 8 O. e p , , M di

4 N . 2 G uit rre O . 5 O a p , , nc O . 5 5 o s es p , P li h Da A n t s e ann OZ . . 1 8 So H M ART , W , a a ( rm ) n S O. u deCo ce t MU IN , , Maz rka r n O . 6 Ist C cedeCo ce t p , apri r 7 nce t O . sede Co p , Val r n in A P. So t N RDINI , , a a D e A F. e ceuseS NERUD , , B r lav e o e A WSK I. O . 8 P DERE I , , p , M l di N 1 n t O . 1 4 o. e ue p , , M N 4 F t eces AGA . o e P NINI , , av ri Pi n F Conce to NO. 1 i E t r , , la

O . 8 LeSt e e p , r gh 1 e etuo O . 1 oto p , M P rp

O . 1 3 I l t p , Pa pi i

PI RN n in E E G . Se e e , , r ad A

e eSe e t on G . o c PUCCINI , , B h m l i VIOLI N MUSIC

n t s e R FF . 5 So c A , J , a a , a h N t n 8 3 O. 5 C O . p , , ava i a

6 eces O . 8 5 p , Pi

R B H . Be ceuse E ER , , r in R F. e ceuse ENARD , , B r G N 2 inF 20 e ceuse O. O . B p , r , ,

F 26 F st u te no O . S R S . G IE , , p , ir i , mi r O 27 Second Su te F o p , i majr O 34 Su te 1 1 1 o p. , Third i G majr N 4 o nce in O 27 O. . R p , , ma G 7 P 9 once to NO. . O R O . DE , , p , C r O 1 0 e p , Air Vari 8 1 3 once to NO. O . p , C r N 4 6 ll e once tos O. c C r , , , a h

ROS Be ceuse EN , M r

A O 1 3 Son t in R B S . G U IN TEIN , , p , a a nce N . o O . 44 O 1 R p , , ma 46 once t in O . p , C r G Melody inF ( Hermann) SA -S S Le ne T heSw n INT AEN , C Cyg ( a ) n on o cc oso nt o . a d C O . 28 I R p , r d d apri i

F ust F ntas e SARASAT P. E, , a a i

S n s nces e c pa i h Da , a h 20Z eune we sen O . p , ig r i n e e nn X . N 1 o s a c SC W K O . 3 O. HAR EN A , , p , , P li h D ( H rma )

F 3 on t s S B . S CHU ERT , , a a ( David)

4 Duos ( David) 1 2 March es (Hermann) 1 2 Selected Songs (Sitt) Serenade T he Bee 5 2 VI OLI N MUSIC

3 F nt s e tuc e SC M R O . 7 S HU ANN , . , p , a a i k O 90T ee R o nces p , hr ma im n O . 1 05 5 Stuc e Vo sto p , k lk

1 1 3 M rs hen il r O . a c b de p , 1 2 Fav ori te Pieces ( Si tt) 1 2 Pieces from Album Of the ! oung 1 5 Favori te Songs (Sitt) A M S MO . e I NETTI , , adrigal 1 0 n G C. O u te o S . . S INDIN , p , i A mi r 27 on t o O . S p , a a E maj r 0 o nce O . 3 R p , ma 6 0 once t O . o p , C r

in3 s e c O . 6 1 4 eces B oo p , Pi k , a h B 1 3 O . te SING E EE . . L , J , p , Pira O 39 L Sonn ul p , a amb a

5 6 F ntas e st e in O . o p , a i Pa ral D 94 If o to e O . p , Tr va r

1 06 F ust O . p , a

H 39 u e es O . S . L ITT , , p , Alb m av

n t s e O . 62 3 So c p , a a , a h 2 n t N 2 n e o O. o SPO L. O . o c HR , , p , C r , , D mi r n O 38 once to NO. 7 E o p. , C r , , mi r 40 olon se O . p , P ai 4 once to NO 8 o O 7 . p. , C r . , A maj r N 9 no 5 5 once to O. O . p , C r , , D mi r ThreeSlowM ovements fr om C oncertos F V N O e tu e oet and e s nt PPE . O SU , , v r r , P P a a 26 o nce in SV E S O . R ND EN , p , ma G e edu le G . L TARTINI , , Trill Diab 2 Son t s E no and o a a , mi r G majr

nf s on 25 . e o es F O . T OM . S H E , , p impl C i

t an F o e s M. e s d w , H ar l r

S 5 n e t in D e nn SC K OW K ! O . 3 o c T HAI , p , C r ( H rma )

Ou r Pro fes s io na l Cata lo gu e Co nta ining a m l C o plete Lis t of N ew V io ins , l B o ws , Strings , E tc . , M a i ed

Upo n Applica tio n.

AVING recei ed a sam e ne of newFrench o ns ha are not v pl li Vi li , t t showninany ofourregd ularcalalogues and could not beclassed as old wehavetherefore issued this special circular. T heseinstruments for the beaut ofout ne handsome arnsh and e! ce ent tone cannot be ir y li , v i ll d w uplicated at theprices ehavelisted them. Any person desiring a fine newinstrument at a reasonable price

d n do bette than o s c reone t s s n coul ot r t eu of hi ampleli e.

‘ — I F enc Sc oo Co [Viratzs Amazi 1 8 2 . r h h l , py , 7 Price

Fu o e w e e ns red own co o . ll m d l , ll mad , var i h br m l r

— s 2 c0 s Bertholini . Ni la , Pari Price

Fu o e \ ns t red own s t s ed . ll m d l , ar i h a ligh br , ligh ly had

— ' S F enc Sc oo Co [ 471 7071 7 1 1 5 Sfmdzz az r h h l , py Pri ce G Co we m f n t r d o n sli ht oo e co o O s e w h d p y , ll ad , l r var i h a ligh br , g

shaded .

— u L n C e e c s. 9 la d bla , Pari Price Fu o e w e e ns red owninco o . ll m d l , ll mad , var i h br l r

' ' O— F enc Sc oo Co amB a fzsfe V mZ/azmze Paris. 4 r h h l , py j p , P1 Ice $3000 u F o e we eOf oodw oo ns t red 1 1 1 co o . ll m d l , ll mad g d var i h ligh l r

— e nB t ste Co n s 1 01 . J a ap i li , Pari , 9 000 Price $3 . F ne o e e f w n u u r d O e seecte w oo s st o s e i m d l , mad ll l d d , var i h a l r , e en e n the nst u ent n so e e v ly appli d , givi g i r m a ha d m app ar

ance.

' ‘ 6 F n c ’ e c S oo Co mu B a fzsze V uillazmzf . r h h l , py / p Price \ e SCICCt lV OOCl ed es n w t ou e row Of urtlm V ll , g i laid i h d bl p g , n var i sh a red brownshad ed .

— D. n 1 1 So ot s 1 01 . , Pari , 9 Price We e Of oo u t woo e d s ns s ed fi ne ll mad g d q ali y d , r d i h var i h had ,

tone.