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The Fiddle Fancier's Guide; a Manual of Information Regarding Violins, Violas

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CHAPTER VI. ^zconh Scrks of (EksBical anb Post-Classical Many of the following are mere names and' dates which have simply been carried on from one treatise to another. Wherever it has been possible, information is given. Where none is found it is to be understood that nothing further than the names, etc., has hitherto been known. AaChner, Philip, Mittenwald, about 1772. Absam, Thomas, Wakefield, 1810— 1849. His tickets are in English "Made by Thomas Absam, Wakefield," and he appears to have been particular enough to put in the date to the very day. Abbati, Gianbattista,, Modena; 1775— 1793- A fine maker of double basses and other large instruments. He was trained in the establishment of Antonio Casini, another Modenese maker—or, at least, followed his stj^le. His model is, good, his work careful, capital wood and brown varnish. Adams, C, Garmouth, Scotland, about 1800. Addison, William, London, 1670. Adler, Paris. A Swiss maker who settled in Paris beginning of present century. Aglio, Guiseppe Dall, Mantua, 1800— 1840. Albanesi, Sebastiano, Cremona. About the middle 136 , THE FIDDLE FANCIEr's GUIDE. of the 1 8th century. Said to be a pupil of Carlo Bergonzi. Alberti, Ferdinando, Mikn, 1749— 1760. Fairly good work. Light yellow varnish. Aldred, London. An old English viol maker of 1 6th or 17th century. Aldrovandi, Emilio, Bologna> 1850—80. Alessandro (called the Venetian), i6th century. A violin of this ' maker's was shown in aij exhibition in Turin in 1880. Alvani, Cremona. Said to be an imitator of Joseph Guarnerius. I have never seen any of his instruments. Allegretti, Massimiliano, Soliera, 1870. Amelot, Lorient, 1829. The only reminiscence of this maker appears to be a ticket. Anciaume, Bernard. A French maker of whom nothing is left but the name. Andrea, Venice, about 1640. AiRAGHi, Cesare, Milan. Modern. Antognati, Gian-Franceso, Brescia, 1533. Antonio (called the Sicilian). An old viol maker of whose work a specimen exists in the museum of Bologna (Philharmonic). Antonio (called the Bolognese). Another old viol maker. Antoniazzi, Gregorio, Colle (Bergamo), i8th century. Antony, Girolamo, Cremona, about 1751. A fairly good maker. Good arching and model. Good finish and nice yellow varnish. Artmann, Weimar. i8th century. Amati model. Good work. Golden varnish. CLASSICAL AND POST-CLASSICAL MAKERS. I37 AsKEY, Samuel, London. About 1825—40. AssALONE, Gaspare, Rome, .i8th century. Said to be good work. , AuBRY, Neveu, Paris. Nephew and successor of Aldric, whose business he took over in 1840. Bachelier, Paris. About 1788. Baffo, Gian-Antonio, Venice. 1630. Bagoletto, Antonio, Padua. 1782. Baines, London. 1780. Bajoni, Luigi, Milan. 19th century. Baker, F., London, 1696. An old viol maker, whose instrument bearing above date, at present owned in Paris, is described as possessing a ravishing quality of tone. Baker, John, Oxford, 1648—88. Another old viol maker. Balcaini. An Italian maker about 1760 who. copied Amati. Baldantoni, Guiseppe, Ancona. 19th century. Ballantine, Edinburgh. About 1850. Compara- tively poor work. Bandl, Joseph, Oiffern. 1765. > Bantis, Jean, Mirecourt. About 1730. Fairly good work. ' Barbanti-Silva, Francesco, Correggio, 1850. Violins. Made also a number of double basses. old of great Barbe Pi!RE, J. An French maker no merit. He also made 'cellos. Barbey, Guillaume, Paris. i8th century. Viol maker. ' Barnes, Robert, London. About 1780-^1823. 138 THE FIDDLE FANCIER'S GUIDE. Became partner in the firm Norris and Barnes, which subsequently became R. and W. Davies and is now Withers. Barton, G., London.' About 1810. Barbieri, Pietro, Mantua, 1864. ' Barbieri, Guiseppe, Mantua, 1879. Baraldi, Alfonso, Modena, 1879. VioUns. Saraldi, Giovanni, S. Felice, 1766. 'Cellos. Baracchi, v., S. Martino. 19th century. Violins. Barbieri, Francesco, Verona, 1695. After the style of Andreas Guarnerius. Bassi, a., Scandiano, , 19th century. Chiefly a maker of 'cellos. Bastogi, Gaetano, Leghorn. i8th century. Chiefly lutes and guitars. Battani, Antonio, Frassinoro. 19th century. Chiefly repairs, but also makes violins. Baud, Versailles, 1796— 1810. Baur, Carl Alexis, Tours, 1789— 1810. This maker tried to abolish the tail pin. Bausch, C. a. Ludwig, Leipsic. Born 1815, died 1873; , Pupil of Fritsche, Dresden. Had also. two sons, Ludwig and Otto, who carried on the business. Beckmann, S., Stockholm, 1706. Bedler, Norbert, Wurtzburg. 1723—50. Chiefly viols. : Bellon, J. F., Paris, 1832. Invented a new mute. The one for the 'cello was adjusted by a pedal. , BELCidNi, Antonio, Italian, 1663. Bellone, PIerantonio, Milan, 1690. Old viol maker. CLASSICAL AND POST-CLASSICAL MAKERS. 1 39 Bellville, Paris, 1828. Violins. Tried new forms unsuccessfully. Belviglieri, Gregorio, Bologna, 1742. Violins very well made. Bente, Matteo, Brescia, 1570— 1600. Lutes and guitars chiefly. Bendini, G. B., Italian, 1668. Violins. Benecke, S,., Stockholm, 19th century. Violins \ Beratti, Imola. 19th century. Violins. Berge, Toulouse. 1771. Viols. Beretta, Felice, Como, 1784. Calls himself a pupil of " Joseph Guadagnino." Poor work. Yellow varnish. Wretched wood. Bertasio, LuiGi, Piadena. i8th century. Berti, G., Fium^lbo. 19th century. Bertrand, N., Paris, 1701 —35. Viols. Besancenol, Dijop, 177.6. Violins. Bessard, Louis, Paris, 1753. Dean of the Violin Makers' Guild for that year. Beveridge, W., Craigh, Aberdeen. Modern. BiANCHi, N., Nice. Modern. Native of Genoa. Formerly in Paris. Chiefly repairs, but also new violins. Died in Nice. Bindernagel, Gotha and Weimar. Associated with Otto and Ernst in Gotha. Subsequently with Otto in Weimar. Ordinary workman. BiTTNER, David. Another modem Viennese restorer. Birmetti, G. B., Florence. About 1770. Employed fairly good wood and varnish. Stradivari model. BizAN, Brussels, 1749. Edinburgh, 1820. Blair, J., , . 140 THE FIDDLE FANCIER'S GUIDE. Blaise, Mirecourt, 1820. Blanchard, p. F., Lyons. Born at Mirecourt, 1851, where he learnt his calling. Afterwards worked with the Silvestres in Lyons. Began on his own account 1876. Red oil varnish and well made. BocQUAY, Lyons. i6th and 17th century. Not to' be confounded with Jacques Bqquay, Paris. BoDio, G. B., Venice, 1792. BoFiLL, S., Barcelona. About 1720. Good maker who copied Guarnerius. J. ^ BoiviN, Claude, Paris, 1744—52. A good maker w'fho was Dean of Makers' Guild for the latter year. BoLELLi, Bologna. 19th century. Boll;es, London. An early viol maker. i6th or 17th century (1675). Bomberghi, Lorenzo, Florence. 17th century* Bono, G., Venice. 18th century. BoNORis, C, Mantua, 1568. School of Dardelli. BoNViciNi, Phillip, Spilamberto, 1790, Chiefly a repairer. - Boom, Pierre, Brussels, 1758—73. Booth, William, Leeds, 1779'—1857. Booth, W., Junr., Leeds, 1838— 1856. - BoRBON, Casper, Brussels, 1689. Viol maker, and also violin,, tenor, and double basses, very early, style. Yellow varnish. Borelli, Andrea, Parmia, 1746, Violins, Guadagnini style. BoRGOGNONi, Senigallia, 19th century. An amateur maker of double b asses who had some success in Italy. Borlon. (See Porlon). CLASSICAL AND POST-CLASSICAL MAKERS. I4I BoRtolotti, (or Bertolotti) Luigi.. Careful, modern Milanese style of work. Yellow varnish inclining to orange. Time about 1810 or 1820. BoTTE, D. I. B., Brescia, 1770. Bous'su, Eterbeck-les-Bruxelles, 1750— 1780. Good work. Amati style. Yellow orange varnish. Boucher, London, 1764. BouLLANGiER, Londou. Modern. BouMEESTER, Jean, Amsterdam, 1637. Good maker. Yellow varnish. Bourbon, Caspar, Brussels, 1601 — 1692. Chiefly repairs. Bourbon, Pierre, Brussels, 17th century. Made a very large number of violins, tenors, and double basses. Bourdet, Jacques, Paris. Another Dean of the Parisian Violin Makers' Guild for 1751. Bourdet, Sebastien, Mirecourt. Early 18th century. A good maker. Bourgard, Nancy. A maker after the style of Medard. Bourlier, Laurent, Mirecourt. Born 1737. Died 1780. Braglia, Antonio, Modena, 18th century. Violins and bows. Brandiglioni, Brescia, i8th century. Brandl, K., Pesth. Modern. Branzo-Barbaro, Francesco, Padua, 1660. Brelin, N., Grum, 1690— 1753. Brensius, Girolamo, Bologna, i6th' century. Viol maker. Bresa, Francesco, Milan. About 1708. Not pa'rticu-. larly good work. 142 THE FIDDLE FANCIER S GUIDE. Broschi, Carlo, Parma. End of i8th, beginning of 19th centuries. (1744.) Brown, James, London. Born 1770. Died ,1834. Style of Kennedy. Brown, JAS., London. Son of preceding. Born 1786. Died i860. Ordinary work. Browne, John, London. Middle of i8th century. Amati style. Good work, but poor varnish. Brown, A., London, 1855. BrugSre, Francois, Mirecourt. Born 1822. Died 1874. Buchstadter, Ratisbon, i8th century. Stainer copies, not particularly jfine. BuDiANi, G., Brescia, i5tli and i6th century. Lutes and viols. BuoNFiGLiNOLi, P. Fj di L., Florence, 1653. BusAS, DoMENico, Venice, 1740. BussETO, G. M. del, Cremona, 1540— 1583. Viols and perhaps violins. BuTHOT, Mirecourt. Modern. Cabroli, Lorenzo, Milan, ,1716. Cabroly, Toulouse. About 1747. Cabasse, Paris. Ordinary class of work.i Caeste, Gaetano, Cremona, 1677. Cahusac, London. About 1788. Common work. Varnish frequently gone almost black. Calcagno, Bernardo, Genoa, 1720— 1750. A fine maker. Varnish of a reddish amber tint. Model Stradivari. Tickets run, " Bernardus Calcanius fecit Genuae, anno — ." Calonardi, Marco, Cremona. 17th century. CLASSICAL AND POST-CLASSICAL MAKERS. I43 Calot. a native of Mirecourt, who worked in Paris for Clement, and in 1830 entered into partnership with Augi^re, already mentioned. He was a finished workman. Calvarola, Bartolommeo, of Torre Baldone
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    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1974 Synopses, Comparisons, and Evaluation of the Leopold Auer and Erich Doflein iolinV Methods. Allan Riggs Fuller Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Part of the Music Commons Recommended Citation Fuller, Allan Riggs, "Synopses, Comparisons, and Evaluation of the Leopold Auer and Erich Doflein ioV lin Methods." (1974). LSU Historical Dissertations and Theses. 8156. https://digitalcommons.lsu.edu/gradschool_disstheses/8156 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. ^'SYNOPSES, COMPARISONS, AND EVALUATIONS OF THE LEOPOLD AUER AND ERICH DOFLEIN VIOLIN METHODS / A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Allan Riggs Fuller B.M., Central College, 1953 M.M,, University of Rochester, 1956 December, 1974 UMI Number: DP69543 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI Dissertation Publishing UMI DP69543 Published by ProQuest LLC (2015).
  • Tarisio June 2016 Highlights Catalogue Online Version

    Tarisio June 2016 Highlights Catalogue Online Version

    Violins June 2016 London 186 A FINE ITALIAN VIOLIN BY ALESSANDRO GAGLIANO, NAPLES, c.1700 Highlights Catalogue Unlabelled. Enlarged at the c-bouts. Catalogue online : 8 June LOB: 35.3 cm Bidding opens: 14 June Certificate: W. E. Hill & Sons, London, Oct 21, 1896 Bidding closes : 27 June Estimates: £150,000–180,000 185 A FINE ITALIAN VIOLIN BY GENNARO GAGLIANO, NAPLES, 1760 ‡ Labelled, "Januarius Gagliano filius, Alexandri fecit Neap. 1760." LOB: 35.2 cm Certificate: John & Arthur Beare, London, Aug 25, 2011 Estimates: £100,000–150,000 184 A GOOD ITALIAN VIOLIN FROM THE AMATI WORKSHOP, CREMONA, c. 1685, PROBABLY BY HIERONYMOUS II Labelled, "Hyeronimus Amati Cre... Nicolai Filius, Fecit 1692." LOB: 35.1 cm Dendrochronology dates the latest ring of both sides as 1682 and finds a tree match with the 1697 'Molitor' Stradivari. Written report by Peter Ratcliff available for purchase upon request Estimates: £50,000–80,000 183 A GOOD ITALIAN VIOLIN BY FRANCESCO MAURIZI, APPIGNANO, c. 1850 ‡ Unlabelled. Inscribed to inside back, "3958." LOB: 35.5 cm Certificate: Beare Violins Ltd, London, May 31, 2016 Estimates: £40,000–60,000 182 A GOOD FRENCH VIOLIN, ASCRIBED TO AND PROBABLY BY NICOLAS LUPOT, PARIS, c. 1800 Labelled, "Nicolas Lupot luthier rue de, Grammont a Paris l'an 1795." Inscribed to the inside bass c-bout in red ink, "6121." The head slightly recut at the final turn of the volute but probably original to the instrument. LOB: 35.9 cm Dendrochronology dates the latest ring of the bass and treble side as 1673 and 1671 respectively.