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C a wunderlich violin dating

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Strad and Guarneriun modelling, also one or two more individualistic. Yet they were preferred to the English productions - instruments superior from every point of view to anything from the Klotz-world. Superb Strad modelling, slowly drying reddish-brown oil varnish. Instruments eagerly sought after in Austria, France and U. Produced several splendid bows, particularly for cello. Tone completely equivalent to the Italian in roundness and mellowness. Similar treatment at the end of the fingerboard, and on the button at the back, under which is a large unique design. Ebony tail piece with an ivory design symbolic of a mask. The bow also superbly decorated on the sides of the head and saddle. Received a mention honourable at the Paris Exhibition, 1878. Guarnerius models possibly superior to anything else he made. Yellow brown or reddish brown varnish giving the instrument a very ordinary amateurish sort of appearance. Joachim performed on one of his violins in a quartet at St. in 1951, his instruments were highly praised by world famous experts in America. Constructively adopted the method of Bagatella, consequently many of his productions are too thin in wood. Used a finely prepared spirit with a small adding of turpentine. Cheaper grade violins generally of a glossy yellow spirit varnish. Employed by Lorange at Lyons, by Madame Bovis at Nice, and by Caressa and Fran? This model has a remarkably puissant sonority of tone, further characterised by a peculiar penetrativeness, smoothness and clarity. Arching nicely elevated towards the centre, and the part between the waist curves given greater breadth than is customary with the Guarnerius. The third (baptised Mieulx ne Scay), is very individualistic, perfect workmanship and magnificent tone. Made a special study of viola construction, and achieved marked success in a particularly bright yet deep tone. Produced several fine-toned cellos designed from a Bergonzi. Wood always more carefully chosen for tonal resonance rather than appearance. Deep red or chocolate coloured sticks, round, and octagonal. Enthusiasm turned his mind into perceiving the imperfections of existing bows and planning their improvement, amending the vagueness and uncertainty of balance, and supplying lightness with strength. Similar in style and workmanship to that of father. Made many bows known as the Lucien Capet Model with a wider heel than customary, and round chocolate coloured sticks. Few of the past French makers surpassed him in refinement. Thus did Vuillaume set off on his road of masterly deception, and orders came thick and fast. Strongly constructed saddles with an improved ferrule.

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From that date he practically devoted his talent to rivalling that of Tourte. Beautifully made bows, unusually strong sticks, yet full of elasticity and carefully modulated balance. Collin-Mzin instruments are only genuine when bearing the signature, and (on the later ones) the announcement of the Grand Prix. His genius magnetised a popular interest to circulate around his productions, because he always bore in mind that the violin-maker is an artist only as far as every line he shapes has the intention of forming beauty and responsiveness of tone. Ultimately purchased violins in the white from French factories and only varnished them. Enthusiastic admirer of fiddles since 17th year, but did not take special notice of instrument-differentiation until four years later. This had a kind of violin tone, but twice as powerful as the ordinary viola. Made many scores of bows for various French dealers, which (being invariably made to a trade order and possibly hurried with the consequent scampering of delicacy), lack that subtle gradation so essential in artist bows, but occasionally had inspirations of greater price and exercised more care, thus producing a few rather fine bows stamped with his own name. And so the never-ending varnish fascination travels along its labyrinthian path of weird versus rational seeds. Famous for remarkable replicas of the Paganini Guarnerius preserved at the Genoa Museum. Varnish, highly etherealized of various hues, yellow to russet tinge, affording constant pleasure to the picturesque appraising eyes. As yet the general public deny him his rightful place, but his fame is gradually speeding up, and he will eventually occupy a place beside Jean Baptiste. Had all the virtues of the enthusiastic worker, and was thoroughly conscientious. Found out that the only sure-road in this direction was to work retrogressively to the conditions existing during the old masters period, and while so doing, disabused his mind of the idea that any of them were chemists, or, in fact, anything other than painstaking workmen. Modelling principally after Guarnerius but also produced Stradivarian examples. Clever bow maker who knew what the artist requires. Beautifully transparent reddish varnish on best specimens, rubbed down to represent wear and age. Greatly patronised by Molique (professor there) who asserted they were the finest toned new violins of his time. Splendid workmanship but ideal quality of tone could not escape from all his careful measurements. which rather points to the fact that he was attempting to get brilliance and clearness at the expense of purity. Each bow doubly gifted with elasticity and strength. Out of this, he wrought many masterpieces that rival the work of Frenchmen and brought him on the high road to winning fame on the continent. Exhibited these instruments at Frankfurt in 1842, and claimed to inoculate (in some secret way) the exact old tone of each model replicated. One made in 1820 belonged to Joachim in his youth (1846-1860), who sold it to his pupil Theodor Thomas, who took it to America when he became leader of the New York Symphony Orchestra. In later years he built several violins of individualistic modelling based on combined attributes of Stradivarius, Guarnerius and Amati; varnished as new instruments. Also made bows but never stamped them with his name. Established workshop at Dresden 1826-1828; at Dessau 1828-1839; at Leipzig 1839-1860; at Wiesbaden 1861; and finally at Leipzig 1863. Made violins in early days, but did not add much lustre to that particular art. Bows unquestionably well adapted to needs of any soloist. Benjamin Godards Concerto Romantique was first performed at a Pasedeloup Concert, Paris, 1876, by Marie Tayau on a Collin-Mzin violin with (what was then an innovation) E and A steel strings suggested by the maker. Made first group of bows in 14th year, and straightway became a fully-fledged professional. Highest priced examples richly merit laudatory testimonials. Aimed at keeping pace with public standard - a standard gradually growing away from the old methods of draughtmanship of several English makers. Followed the models of Stradivarius, Guarnerius, and Maggini. Charged (in 1840) about seven guineas for his instruments - a ridiculous price considering their superior order of construction. Fine pernambuco sticks usually round, others octagonal of a chocolate brown shade. Also made some fine Lupot replicas when he worked for Lt. Some early instruments are delightful transcripts of a famous Amati violin inlaid with floral designs. Selftaught in violin making by study of all obtainable literature on construction and tone. Workmanship details all carefully attended to; sound-holes slightly wider than usual at lower part of stem just previous to the turn. Tonal quality thoroughly reliable in strength, clarity, equality and quick responsiveness. Thus an innumerable quantity, often of weak and inferior structure, found safe harbourage in this country, springing up and taking root with astonishing rapidity to supply the demand of the many credulous purchasers - and ever since inundating our markets. Worked at Brescia, 1929-1941, then abandoned the art to become administrator of an important firm for mechanically cutting down forest trees. First apprenticed to his father for whom he made bows as well as instruments. Worked at Steinkirchen near Lbben (Germany) since 1912. Scroll embellished by delightful carving, adorned with leaf work, accompanied in the delicate curves by an effusion of pearl, further enhanced by ebony bordering. Soon became a favourite and prosperous repairer; and commenced to make his own instruments, which in all details other than the varnish, follow the larger models of Stradivarius, Guarnerius and Amati. Formed a friendship with influential people and was considerably popularised. Also recognised as a capable performer on the violin, cello and guitar. Moved to Berlin, 1872, after much persuasion from Joachim who soon gave him the appointment of repairer, etc., to the Hochschule. It is more than probable that the far major part was designed and varnished by him, but the several separate pieces were put together by his assistants. Fine copies of a Guarnerius, with orange-red varnish. Subsequently attacked with enthusiasm the constructive art and went to Mirecourt where he spent two years in the atelier of Mougenot-Jacquet-Gand, and was initiated in bow making by Bazin. Conceived three designs of considerable originality. One maintaining the Amati outline, designated modele normal but of independent character in all other details. Also the trade-mark an all conquering eagle with widespread wings over the letters P. Generally one-piece backs of very handsome material. Without being over-enthusiastic concerning the workmanship, we much acknowledge that it is strong and conscientious though never immaculate in finish. The first to discontinue the use of one or more notches on the stick to which the frog was moved to tighten or loosen the hair. Made his first bows from staves of old sugar casks from Brazil, as he could not afford to purchase expensive woods. First guided in the art of bow making by Charles Husson. Bows made by a man upon whom nature had bestowed a mind deeply sensitive of the beautiful, and highly cultivated by experience. However, his finest specimens (just the thing for virtuosi) though refreshingly light, have wondrous heads affording equal wondrous elasticity of sticks. The fact that this would eventually destroy the fibres and weaken the resistance of tone did not penetrate the faculties of eager violinists. Magnificent bows, all parts done personally and by hand - usually follow the Tourte model but other celebrated types likewise successfully imitated.

So, of course, as it was impossible for everybody to have Cremonas, they fell back on the Tyrolean, not much troubling about anything except that they came from a foreign land. Beautiful complex ebony purfling, with folia gated arabesques done in pearl on the inner side - also on the ribs. First apprenticed to his father; removed to Paris, 1868. Bows noted for elegance of the head, exquisite sweep of stick and remarkable for strength with elasticity. Specialist in re-toning and regulating the vibrations of old and faulty instruments. Pupil of Bausch at Leipzig, travelled to various cities, gained all possible practical experience and returned to birthplace, 1862. It would be an absurdity to suppose that he actually made them all, even presuming he had no repairing to do. Grand-Amati patterns, orange-brown varnish, and pretty wood. Studied the violin at Geneva Conservatoire and carried off first prize for solo playing. All instruments have plenty of wood in essential parts, and none is over twenty years seasoning. Occasionally wrought an elegatit and picturesque design but never reached ideality. Used lighter wood and proportioned the stick more accurately, and gave it the backward bend indispensable to its elasticity. Worked from an early age for various watch and clock makers, scarcely made enough money for subsistence, and after eight years abandoned that trade in favour of bow making. A maker who decided on selecting the finest wood and worked it with loving care. Sometimes he exaggerated this head tenuity, arrived at too light a weight, which brought weakness after a few months playing. Perfect imitations in modelling and varnish, also in liquid quality of tone to a lesser degree which he obtained by thinning the wood and impregnating it with violent acids and other artificialities.

Distinguished by a remarkable fullness of tone, and its capabilities for expressive playing - having unusual qualities (with regard to modern instruments) of delicacy, richness and resonance - everything brought to that high state of tonal power which will ultimately be equal to any Cremona or Lupot. All the comparisons made by these various soloists admitted the superiority over other new violins, particularly for sonority, resistance and perfect evenness of vibrations on all the strings in every position. Embarked on violin making and expanded his views by comparing various types of violins and elucidating their varied principles. Pretentiously small sound-holes which arrest the attention but do not create much admiration. Made 300 violins, 25 cellos and 20 violas (generally of small size).-----------------------------------Franciscus Maria Pupunatus Fecit Lausannae Anno 1847-----------------------------------Branded F. Rockwell violins have much of the elegance of the older Italian and French Schools. Worked for many years with father, established own firm, 1920. Superb modelling whether Stradivarian, Guarneriun, Amati or Guadagnini. Body length 29-1/4 inches, upper bouts 13-7/8; lower 17. Also produced several basses of small model, all having a magnificent tone. We find no difficulty in suscribing admiration to the ability and ingenuity in which every point is brought forward. Several years as the head of the bow department at the Gand and Bernardel establishment, Paris. Tried Various woods for his next essays, and was content to get a couple of shillings for any of them. Greatly patronised by the renowned quartettists at the Monday Popular Concerts, London, from 1865. To say that he was the equal of Tourte, Peccatte, and Voirin, is not a wild and extravagant hypothesis. Moved to larger premises in the Rue Demours-Ternes, 1860, and engaged an extensive staff of workmen. Impressive and artistic, perfect balance, round and octagonal sticks; those of dark chocolate colour generally gold mounted. Worked with father for number of years, then established own place in St. Martins Lane have the attributes of Cremona work, body length, 16-1/4 inches(bearing design of a violin, lyre, music, etc., with sun in background)Also an excellent productivity in bows.

French virtuosi reciprocate the makers genius by widely advertising the products of their countryman. Magnificently finished and rather exquisite-looking when cleaned up, but the sticks have little elasticity and the material sometimes of that kind which warps after several years playing. Splendid cellos of Stradivarian modelling - one gained the gold medal at the Inventories Exhibition, London. Also made a curiosity violin consisting of 700 pieces of wood. Undeniably beautiful in every detail of workmanship. The cello virtuosi Franchomme and Jacquard used instruments of Collin-Mzin in the later years of their career. Cabinet maker belonging to a religious brotherhood. Also made magnificent bows, practically investing them with ideal balance. Though violinists find their happiest and most constant pleasures in handling the violins of old Italian makers, yet they frequently feel their curiosity powerfully excited and sometimes amply rewarded by specimens distinguished as more or less replicas of the older school. Cellos almost invariably of pear-tree wood for backs, bellies of splendid tonal pine (even though a knot here and there sometimes exhibits itself), and bold scrolls of beech wood. Bows modelled on the standard prototypes - pernambuco sticks. Bows which admirably realise that elasticity constitutes an inseparable part of strength. Chocolate coloured sticks thinly graduated, but so ingeniously as not to be incompatible with a certain amount of resisting power. Rich collectors have given £200 for gold-mounted specimens. Employed by William Ebsworth Hill during these years, and specimens of his talent, bearing Hills name, are easily recognisable, and artists never have hesitated or showed the slightest reluctance to embark on the expenditure of several guineas for one. This champion, completely disciplined, stepped forward to challenge the opinion that French bows were the only bows worthy of artists acceptance, and, he won the day on this field he had entered. Produced many instruments constructively magnificent and plentifully wooded in all sections, awaiting time and usage to give mature tonal quality. Made two quartets and gigantic octo-bass for the Worlds Fair in London, 1851, and received the grand Council Medal. Original model (known as the Winkler), also imitations of the Tourte and Voirin.

First a violin maker working temporarily at Valence-on-the-Rhone. In choosing from these better class ones we prefer the examples having octagonal sticks (medium red), for they seem stronger and more elastic than the round. Several German firms of the present day stamp some of their productions with the name ADAM. Employed by Hill & Sons (London) for several years. Specialist in bow-making - specimens very similar to the Dodd - completely artistic and reliable - deserve to be more sought for - some beautifully mounted. Retired from the Civil Service 1924 and joined his son (William Samuel Day, Junior, born 1887) at the latters violin-making establishment at Plymouth. No adherence to any particular model, but rather favoured the Guarnerius. Easily positioned, haughty looking but dignified scroll adds character and point to the whole. Some instruments varnished with a special spirit preparation. Produced several interesting violins very Rocca-like. Unfortunately, this has been retarded by his occasional descent into the production of cheaper and a kind of commercial instrument for which he received £10. Lan 1884--------------------------------------------------------175 is the number of the instrument.

Returned to Mirecourt 1790 and devoted himself solely to bow-making until death, 1820. His bows (largely made for the trade) are not very skilfully finished or balanced. Enjoyed the personal friendship of Sarasate, Carrodus, and other noted violinists. Pupil (in woodwork) of Gottardo at Venice, and (in violin making) of Pezzoni at Cremona. Workmanship distinguished in a pre-eminent degree, specially refined finish of the inner edges of the sound-holes. Purplish-mahogany shade of varnish doctored up etc., to look like genuine old age.

Covered with plenty of rich varnish of various shades (we prefer the golden yellow) that will stand the test of scores of years wear and become lovelier during that period. Guaranteed all instruments to be made of wood grown old naturally, and attributed the tonal success to his knowledge of wood and experiments in acoustics with a special system of bass barring according to the age and kind of material used. Beautiful shades of orange and reddish varnish prepared from own experiments. Every instrument shows individuality, whether his own special model or the various prototypes imitated. Many of his instruments not easily identified as he did much work for dealers. Also made a large number of bows for the trade, and stamped according to the model. Appearance brings up memories of a Voirin bow, though the head is less refined. Often beautifully balanced sticks of pernambuco, but others occasionally too heavy for soloists. Searched the warehouses that stored such material, and spent hours trying to find straight pieces without defects of knots and twists. Take any specimen, subject it to minute examination, test it in strength and lightness, and you will soon be aware of owning a real treasure, something to stimulate fine playing. Magnificent sweep of stick, generally round and of dark pernambuco, but very occasionally of lighter colour. Achieved first-class results whilst at Thomas Dodds. Worked for Boulangeot (Lyons), also for Caressa (Paris). Recipient of gold and other medals at various exhibitions. Died at the zenith of universal admiration in 1875. Carefully selected pernambuco, hexagonal and round sticks, light and dark shades. Business carried on by two sons since 1900, Guarnerius (excellent violinist) and Walter George; both trained in constructive and repairing art at Mirecourt. Stradivarian and Guarneriun modelled violins; four grades. Splendid type of orchestral instruments, plenty of power, brilliant and equal on the four strings, nothing harsh or woolly.