Tobi: page for developing code. 

 

To do: implement other way of filter, as per teaching videos.

Maker name:

maker_last_name
maker_first_name
length_string
Size text
date
label
location
collection
catalog_num
DHV_num
prev_owner
place_made
num_strings
length_total
length_body
width_upper
width_mid
width_bott
depth_rib
head
tourin_id
info_src
literature
photo
recording
comments
pvt_owner
auction
turin_notes
Guersan
Louis
Pardessus
1754
USA, Brooklyn, NY
Private collection
1666
F, Paris
5
Female
Owner to TGM, 8/14-4/15
[Unpublished, from owner, 4/15: FB+S, head FB+S (color)]
Striped back and ribs, La Fille decoration on pegbox. 3 pegs treble, 2 bass side.
Yes
Hoffmann
Johann Christian
36.6
Treble
1740 C
Joh: Christian Hoffmann, / König. Poln. und Churf. / Sächs. Hoff Instrument und / Lautenmacher in Leipzig. [handwritten]
D, Leipzig
Bach-Archiv
DLG 104
1667
D, Leipzig
(4)
40.3
18.6
13.2
24.2
4.7
Scroll
Martius 2015, pp. 374-75
Martius 2015, pp. 374-75
Martius 2015, pp. 183 (top block [color]), 245 (rosette), 374-75 (F+B, head S, label [color])
Martius JCH 49. Table with single purfling plus an extra track of ebony, rosette, and integral bass bar (intruding into rosette). 1-piece back and ribs of (”exquisite”) bird’s eye maple; small corner blocks. Modern neck, mortised (original was nailed); grafted pegbox, originally for 6 pegs but now with 4; original scroll. Dark, almost black varnish. Clumsy handwriting of label prompted past doubts, but comparison with JCH 39 (pardessus), confirms this is a late work by J.C. Hoffmann. Dendrochronology (by Micha Beuting) gives date of 1719 for youngest growth ring on table. Probably converted to a viola by “Johann Friedrich Schäfer / Instrumentmacher in Dresden / Reparirt / Oberseergaße / N. 30” (handwritten, on treble-side middle rib; he received Bürgerrecht in 1813); “Georg Wa. Cütter / 1964” (handwritten on underside of table) probably only did repairs and/or new fittings. On loan to Bach-Archiv from estate of a collector since 2010.
Yes
Fleury
Benoist
31.6
Pardessus
1751
Benoist Fleury rue des Boucheries / Faubourg St. Germain a Paris 1751 [printed except 51]
D, Berlin
Private collection
1668
Imke David, Bremen, c. 1990-2014
F, Paris
5
33.1
15.5
10.8
19.4
5.3
Female
Owner to TGM, 7/15
[Unpublished, from owner 8/16: FB+S, head 3/4 (color)] and 7/15: FB+SS, SS body only, head F, label (color)]; Imke David’s online sales ad 8/13 (F, back 3/4, head F 7/8+B [color])
Table with double purfling, arched back with single purfling. Only bottom block, tailpiece, bridge, fingerboard, and pegs are not original (but original boxwood pegs still exist); neck was narrowed and later widened with new wood. Extensive repaired worm damage to table and ribs. La Fille style decoration on back of pegbox; 2 pegs treble, 3 bass side.
Yes
Mayr
Sebastian
Treble ?
1728
Sebastian Mayr, Lauten und Geigenmacher, München 1728
NL, Amsterdam
Rijksmuseum
BK-NM-11430-8
1669
[purchased in 1899]
D, Munich
(4)
39
19.4
13.1
23.4
5.6
Scroll
Museum’s website; museum to TGM, 1/16
On museum’s website (FB+S, head F+S [color])
Viola conversion, but still with flat and folded back. Website: “soprano viol”.
No
Maussiell
Leonhard
38.6
Treble ?
17..
CH, Winterthur
Private collection
1670
J. Remy, Wiesbaden, -2006
D, Nuremberg
6
38
19
13
23
5.3
Scroll
Owner to TGM, 8/16
[Unpublished, from owner 8/16: F+B, F 3/4 (color)]
When purchased, had been converted to a viola (probably long ago and much played that way), but without cutting down ribs; restored by Christian Brosse 2007 (new neck without opening body). Originally had rosette, but closed up in viola conversion and not recreated. Attribution based on close similarity to José Vázquez’s Maussiell treble.
Yes
Maussiell
Leonhard
33.9
Treble ?
1718
D, Weimar?
David, Imke
1671
D, Nuremberg
6
Male
Brompton’s 6/24/13, lot 299
Brompton’s 6/24/13, lot 299
Brompton’s 6/13, lot 299 (F+B, head side [color])
Brompton’s: viola d’amore; “branded: L. M with the imperial double eagle set between them.” Rosette; carved head is blindfolded; lower scroll branded E.F. Repair label: Reparits von F. Weber Haale 1862. (Photo shows chin rest and 2 fine tuners.)
No
BRompton’s 2013/06/24, lot 299
Alban
[Johann] Michael
Treble ?
1717
Michael Albanus / Me Fecit Gracy / Ao 1717
I, Verona
Private collection
1673
Sig. Lexner, Brunico
A, Graz
6
39.5
5
Cupid
Owner to TGM, 1/17
Rasi 2014a (front [color]); [unpublished, from owner 1/17: FB+S, head front, label partial (color)]
Rasi 2014a (Concerto di Viole)
Shallow ribs and blindfolded Cupid head suggest origin as a viola d’amore. Date given as 1732 on CD, corrected by owner.
Yes
Violone
17..
I, Verona
Private collection
1674
Artemio Versari, Bologna
I,
6
84
16
Scroll
Owner to TGM, 1/17
[Unpublished, from owner 1/17: FB+S, head side (color)]
Rasi 2014a
G tuning. CD notes give date “ca. 1700” but owner’s documentation says “2nd half of the XVIII?” Played on recordings by Riccardo Coelati Rama.
Yes
Louvet
Jean
Pardessus
1749
[Louvet ... 1749]
1675
F, Paris
5
Open scroll
Apollium (online auction) 11/28/16
Apollium (online auction) 11/28/16
Apollium (online auction) 11/28/16 (F+B, head back, neck+head both sides [color])
3-piece back with marquetry lines between pieces; tailgut; 2 pegs treble, 3 bass side. Shown strung up and “en bon état de conservation”.
No
Apollium 2016/11/28
Weiss
Jacob
66.4
Bass
1733
Jacob Weiß, Lauthen- und Gei- / genmacher in Saltzburg / 1733 [printed except 1733]
D, Leipzig
Private collection
1676
Uwe Stahlbaum, Leipzig, -2017; Peter Klug, Leipzig; his father Christian Klug
A, Salzburg
6
73.7
33
24
42
12.9
Lion
Owner to TGM 2/17
[Unpublished, from owner 2/17: front, head 3/4, label (color)]
Body and head original, neck and pegbox probably not (string length when purchased was much too short). Back widths 33.5/23.0/41.7.
Yes
Guersan
Louis
Pardessus
1750 C
F, Montreuil
Private collection
1680
F, Paris
5
Female
Owner’s website, 10/14
On owner’s website, 10/14
2 pegs treble, 3 bass side. Heavily carved pegbox.
Yes
Feyzeau
Pardessus
1750 C
Feydeau [stamped at top of back]
B, Loupoigne
Private collection
1681
F, Bordeaux
6
E-mails from owner, 10-11/15
[Unpublished, from owner,10-11/15: F+B, body only; FB+S, head 3/4, brand stamp; front full next to ex-Dolmetsch Feyzeau (color); eBay.fr, 9/15 (front [color]).
Fingerboard and tailpiece with wide ivory strip at bridge ends, tailpiece with large, round “baseball” ornament also on Yale and ex-Dolmetsch pardessus by Feyzeau. Head missing, freshly cut off the presumably original pegbox; 5 pegs also present. Description on eBay.fr, (seen 10/11/15, with listing or sale date identified as “il y a 2 semaines” and place as “Bordeaux 33, France”): “Exceptionnel pardessus de viole par le luthier Feyzeau à Bordeaux au 18e siècle, marqué au fer Feyzeau, étiquette intérieure, dans l’état, à restaurer ou à garder tel. Une clé cassée, les 5 autres complètes, manche anciennement cassé et réparé, entièrement d’origine, très beau, vers 1750.” [Is label therefore undated?]
Yes
32.7
Quinton
17..
[None]
USA, Kansas City, MO
Private collection
1605
Patrice Taconné, dealer in Bordeaux, -2006; Bordeaux family, many years earlier
F,
5
35
15.6
12.4
20.6
3.8
Male
Owner to TGM (phone), 2/12
From owner (F+B, head side [color])
Measurements converted from inches. Fingerboard (ebony, with inlaid ivory frets) and tailpiece are original; pegs and bridge not. LaFille head is a coolie. 3 pegs treble, 2 bass side.
Yes
Bass
F, Paris
Private collection
1606
Jean Lamy
GB,
6
71.2
34
25.3
40.6
13
Female
TGM visit (Cocquoz shop, via C. Coin) 8/11
[By TGM: F, back body only, head FB+S, details of back upper corners [color])
7-piece table, 2-piece back, both with single purfling (perhaps not original); no decoration except double V at top of back. New wood above upper corners of back in such a way as to suggest C-bouts were once about 3 cm larger vertically; C. Coin thinks body has been cut down, but J. Pringle thinks outline (and wood) looks early 17C English as is (based on photos). Head not original; based on photo, J. Pringle says it’s from a Bertrand viol. Pegbox back mostly plain; plugged hole for 7th peg nearest to head; neck not original, somewhat cello-style, and string spacing is narrow (3.3 cm at nut); not set up, so string length unavailable. 2x6 tuning pins inserted in a V pattern into bottom rib/block for sympathetic strings, with hitchpins at top of table, under fingerboard.
Yes
Pappe
Johann Nicolaus
Tenor ?
1711
CH
Private collection
1607
D, Erfurt
Owner to TGM, 2/12
Had been converted to a viola, with ribs cut down to half depth. Restored in England by unknown luthier. Pegbox partly original (4 of 6 pegs worth). Very small instrument.
Yes
Treble
CH
Private collection
1608
D,
6
Owner to TGM, 2/12
Had been converted to a 5-string viola da braccio. Played by former owner in K. Ruhland’s Cappella Antiqua München; Ruhland thought it resembled similar instruments by Höss. Restored by Hagen Schiffler to 6-string treble viol; date probably c. 1700.
Yes
Treble
CH,
Private collection
1609
D,
Owner to TGM, 2/12
Found by current owner in a junk shop in Basel. Restored by Hartmunt Münzberg, who considers it to be South German, c. 1700.
Yes
Hoffmann
Martin
57.5
Bass
1699
Martin Hoffmann / in Leipzig 1699 [printed except 99]
D, Leipzig
Universität Leipzig
5478
1610
Private owner, Baden Württemberg; Dr. Ewald Gutbier, Marburg/Lahn
D, Leipzig
6
105
56.8
27.1
20
31.2
11.4
Cherub
Martius 2015, pp. 338-39; K. Martius to TGM, 1/14; museum website
Martius 2015, pp. 338-39
On museum’s website (FB+S, head 3/4 [color]); Martius 2015, pp. 338-39 (FB+S, head 7/8, X-ray of rosette and bass bar, label [color])
Martius MH 8. Table with double purfling, rosette, and short, original, integral bass bar; back with ink purfling and 3 crossbars in addition to soundpost plate. Originally had a through-neck, of which only the foot remains; current neck grafted to an unusually long pegbox with holes for 8 pegs (of which the highest and lowest now plugged) and carvings on all sides, topped by a French-style head (clearly not original; perhaps 18th-C.). Extensively restored by G. Hellwig in 1937-38. Back widths 25.5/19.1/30.6. Dendrochronology (by Peter Klein) gives date of 1692 for youngest growth ring on table.Drawing by Ute Singer at museum; restoration report and related correspondence (excerpts p. 340) in Hellwig Nachlaß at GNM, Nuremberg. Museum website: Fingerboard and tailpiece brown with black edges; blond pegs. Purchased in 2007. Hellwig 2011, p. 313 cites it as similar to TieWV 87 (RUH 3), whose body length is only 57.4 cm.
No
Tielke
Joachim
Bass
1702 C
D, Frankfurt am Main
Museum für Angewandte Kunst
115
1611
Bethmann family (bankers), Frankfurt am Main, -1880
D, Hamburg
Female
Hellwig 2011, pp. 348-49
Hellwig 2011, pp. 348-49
Hellwig 2011, pp. 77 (neck heel), 349 (neck/PB/head from side; head 3/4 and back; lower end of fingerboard [color])
Hellwig 2011, TieWV 132; Hellwig 1980, no. 106. Detached neck, pegbox, and head (no body, original or otherwise). Pegbox has open-carved back and ivory edging; 7 sets of pegholes (NB), whose small diameter (± 0.6/0.47 cm), together with the lack of wear on the fingerboard), suggests the instrument was used for only a short time before this neck was removed. Fingerboard has tortoiseshell inlay on ivory veneer. Dating by G. Hellwig.
No
Tielke
Joachim
Bass
1669 C
D, Munich
Bayerisches Nationalmuseum
Mu 29
1612
D, Hamburg
Male
Hellwig 2011, pp. 259-60
Hellwig 2011, pp. 259-60; Hellwig 1980, p. 136
Hellwig 2011, pp. 84 (head side), 199 (detail of pegbox back), 259-60 (head F+B, 3/4, neck heel [color]); Hellwig 1980, p. 137 (neck, pegbox, head from front)
Hellwig 2011, TieWV 002; Hellwig 1980, no. 002. Detached neck, pegbox, and head (no body, original or otherwise). Back of pegbox has carved representations of 6 instruments (viol, lute, guitar, pandora, cittern, and violin), as a kind of illustrated catalogue, by same carver as TieWV 1; peg for top string is closest to nut; 7th hole added later. Wooden head (said to be male) with necklace of real pearls. Fingerboard covered with pattern in ebony and ivory, but no border lines (probably cut off when neck narrowed for use as a cello).
No
64
Bass
USA, Kansas City, MO
Private collection
1613
Trevor Jones, London, ≤1978-2012; Marco Pallis
GB,
6
64.2
30.9
21
40
11.3
Open scroll
Owner, 3/12; J. Pringle 7/13; Gardiner Houlgate online auction catalogue, 3/5/12, lot 141
Gardiner Houlgate online auction catalogue, 3/5/12, lot 141
Gardiner Houlgate online auction catalogue, 3/5/12, lot 141 (F+B body only, head side [color]); Jones 1980 (front) [also, with caption, in Early Music Gazette 7/78, p. 3]
Jones 1980 (Lawes); perhaps also 1977 (Coprario), 1983 (Jenkins), and various others
Catalogue 3/12: “Rare and interesting late 17th/early 18th century double purfled division viol”; previously offered by same firm 10/3/11, then described as possibly by Panormo. Double purfling both front and back; soundholes have lower eyes plus short extension below them. Triangle-and-oval designs at bottom and top of (2-piece) back similar to those on Francis Baker 1696; rectangular pattern of diagonal lines with trefoils at each corner in center; table ornament with central heart, two flowers on stems above, and two diagonal leaves below. Extremely pointed body corners similar to those on W. Baker viola (Oxford, 1683).
Yes
Gardiner Houlgate 1212/03/05, lot 141
Meares
Richard
68
Bass
1669
Richard Meares without / Bishops-gate near to Sir / Paul Pinders, London /Fecit 1669 [printed except 69]
E, Seville
Private collection
1615
Marius de Zayas (d. 1961); Arnold Dolmetsch (before 1901, in 1904-05, and probably until mid-1930s)
GB, London
6
72
33
25
41
12
Female
R. de Zayas to TGM, 6/13; Dolmetsch 1904, p. 137; Dolmetsch 1905, p. 113
Danks 1958, p. 112; Dolmetsch 1904, p. 137; Dolmetsch 1905, p. 113
Dolmetsch 1904, p. 137 (label and rose); Dolmetsch 1905, p. 113 (head side); [unpublished, from owner, 6/13: FSS, back body only, head F+S, back ornaments individually, rosette (color)]
Heart-shaped rosette; trapezoidal label. Fingerboard, tailpiece, pegs, and bridge by Dolmetsch; neck, pegbox, and head perhaps original. Fingerboard and tailpiece blond with dark borders. Internal pencil inscription “Restored by / Arnold Dolmetsch / 1929”, but probably also earlier, in 1890s: this viol sold in his 1901 bankruptcy auction, when purchased by a friend and given back to him. (Danks 1958: “The Dolmetsch collection has a bass viol [by Meares] that was acquired and restored by Arnold Dolmetsch in 1921, the label states “Richard Meares without Bishop’s Gate near to Sir Paul Pinders. London 1669”; but date of 1921 may be wrong.)
Yes
31
Pardessus
D, Leipzig
Universität Leipzig
3403
1616
F,
5
0
Female
On museum’s website (front 3/4); museum website 3/05 (head 3/4 [color])
2 pegs treble, 3 bass side. Tourin: striped ribs and back; neck not original?
No
68.8
Bass
16..
USA, Philadelphia
Private collection
1617
Joann Freeman Shwayder Clayman, Bloomfield Hills, Michigan (grandmother of current owner); Edith Freeman (mother of Joann)
GB,
7
67.5
32.5
23.8
39.1
12.3
Female
TGM visit (at Conclave) 7/12
[By TGM: FB+S, head F+B, bass soundhole, hookbar (color)]
Ink inscription on inside of center stave of back: “Restored by Chickering / and Sons under the direction / of Arnold Dolmetsch / Boston 1909”: neck, fingerboard (solid ebony), pegbox (lower back carved in Arts & Crafts style), head (looking down the fingerboard), and table (2-piece, with double purfling but no other decoration; soundholes have lower eyes only) not original, surely by Dolmetsch. 5-piece striped back (3 maple, 2 walnut) with double purfling and diamond pattern at neck heel only; no crossbars except soundpost plate. Many (repaired) cracks in ribs. Hookbar with threaded hole for endpin; bridge by W.L. Monical, New York. Table and back overhang ribs slightly; J. Pringle thinks originally so. Currently being played by grandson of owner.
Yes
Turner
William
68.7
Bass
1650 C
CDN, Saint-Élie-de-Caxton, PQ
Private collection
1618
Hannelore Mueller, Basel, c. 1960-c. 1986; Fritz Ernst, Geneva, -c. 1960
GB, London
7
70
33.1
25
40.6
12.6
Female
W. Monical to TGM, 1/13; F. Beaulieu to TGM, 11/12; owner to TGM, 7/12
{from owner: FB+S body only, head FB+S, etc. (color)]
Restored by Paul Reichlin, first for H. Mueller, then for P. Kallenberger, her student: wider fingerboard, tailpiece, hookbar. Head and pegbox also by Reichlin. Narrow dark strip at center joint of back (filler, not decorative). Described as a Bertrand until 1/2013, when W.L. Monical identified it as a virtual twin to the Turner bass in Nice (ABON 1). Back and ribs of very plain wood (possibly service wood); 2-piece table (with lower-bout wings) has extremely high arching, and single dark purfling (not black/white/black); numerous internal repairs, including wide wooden linings. FB, TP, and HB are in English style; PB carving still crisp (new), well done in style of Bertrand.
Yes
Bass
1680 C
A, Vienna
Vázquez, José
1619
D,
6
Scroll
Vázquez website
Vázquez website (front 7/8, at exhibition [color])
Long, narrow C-holes; black FB+TP, blond pegs; no measurements yet.
Yes
Treble ?
17..
[ex-Universität Leipzig ?]
854
1622
D,
6+8
34.5
16.75
20
7.75
Scroll
Kinsky 1912, 2:493-94
Kinsky 1912, 2:493-94
Kinsky 1912: “violetta bastarda (Diskant-Viola da gamba d’amore)”, mid-18th C south German work. Table edges and soundholes have ivory purfling and painted rococo ornamentation; ivory stripes also on tortoiseshell-veneered fingerboard and tailpiece.
No
Mayr
Andreas Ferdinand
69.5
Bass
1755
Andreas Ferdinandus / Mayr Hof- Lauten und / Geigenmacher in Saltzburg / 1755 [handwritten]
CDN, Toronto
Private collection
1623
Charles Gustav Wendt, Iowa City, IA (d. 7/11) & heirs, -2013
A, Salzburg
6
68.5
29.8
20
37.7
12
Lion
J. Pringle to TGM, 6+9/13; Monical appraisal (1998) via J. Morton 3/13
[unpublished, from J. Pringle 9/13: F 7/8 + SS, B body only, head 3/4, soundholes, bottom rib, label (color)]; [unpublished, from J. Morton 3/13: FB+S, head F+S, bass F-hole and part of label (color)]
Monical (1998): modern (early 20th C.) neck, pebgox, and head; sculpted ends to fingerboard and tailpiece; tailgut; his dimensions 69.0, 30.2/21.3/37.8, 12.2, 62.5. Neck inset to table and barely long enough for 7 frets, with string length of 63.5. Label damaged and difficult to read. Restored 2013 by John Pringle (new neck, fingerboard & tailpiece with hookbar); single purfling front and back, table heavily restored for worm damage; glossy red-brown overvarnish. Pegbox old but probably not original to body; no decoration, 2 pegholes bushed; grafted to replacement neck. Kelischek repair label (Atlanta, April 1963), but he told Pringle neck not by him.
Yes
Schmid
Johann Gottfried
66.2
Bass
1713
Johann Gottfried Schmid, in /Leipzig anno 1713 [printed except 3, or it might be a 9]
USA, Patterson, NY
Private collection
1625
Louis Hattenbach (1868-1932), Melbourne; sold by his grandson via Brompton’s in 2013
D, Leipzig
6
69.5
33.1
23.6
40
12.8
Male
Martius 2015, pp. 418-19; Brompton’s auction 3/28/13, lot 262; and e-mails from them
Martius 2015, pp. 418-19
Martius 2015, pp. 418-19 (F+B, top off, underside of table, label [color]); Brompton’s 3/28/13, lot 262 (F+B, head side [color]); [by TGM: FB+S, F body only, head FB+S (color)]
Martius 2015 [based on pre-restoration info and photos]: table with double purfling and short, original, integral bassbar; neck not original, attached to remains of original through-neck; grafted pegbox, non-original head. Amazing how close the interior construction is to Martin Hoffmann’s work. Dimensions 71.0, 32.3/23.7/40.0, 13.3, -; back widths 33.0/23.0/39.4. Brompton’s: photos show 6 pegs, with the one for the top string closest to nut; floral carving on pegbox; tail gut; “some restoration work required”; dimensions 66.0, 32.0/23.0/39.2, 13.4, -. Restored by Andrew Dipper, 2013-15. TGM visit 9/15: dimensions as above; back widths 32.1/22.8/39.5; bridge position above midpoint of C-holes, with soundpost in middle of its crossbar; 2 other crossbars above plus 1 below (all tall). High table arching with recurve in lower bout; no purfling on back; neck (including carving on neck heel) by A. Dipper, also black fingerboard and tailpiece with 2x white perimeter inlay and ornaments at bridge ends; tailgut of silver.
Yes
Hoffmann
Martin
63
Bass
Gaspar da Salo. / a Brescia. A. 15?2 [printed, including full date]
D, Grenzach-Whylen
Private collection
1626
Weber, Ekkehard; an estate in S. Germany
D, Leipzig
6
65.6
31.2
23
37.3
13
Female
K. Martius to TGM, 1/14; E. Weber to TGM, 1-2/13
Martius 2015, pp. 344-45 (FB+S, rosette [color]; also on website of restorer, www.ganterstrings.com, plus head 3/4); [unpublished, from E. Weber: F+B body only, top off, underside of table, rosette, various details (color)]
Martius MH 14. Martius 2015: neck, fingerboard & tailpiece, pegbox, and head (latter based on J.C. Hoffmann in Eisenach) are new, by Christian Johann Ganter (Basel-Reihen) in 2010. Table with double purfling and multi-level rosette; back with narrow soundpost plate and 3 wide, non-original crossbars; top and bottom blocks and wide corner blocks not original; nothing left of original through-neck. Inscription on underside of table: “Repariert 1967 / H. Wild, Offenburg”. Back widths 30.3/22.1/37.1. Per E. Weber, when found the interior had been “butchered,” causing him to lose interest; but later very nicely restored (for G. Anthony) by a luthier near Basel. Dendrochronology test (by Willi Tegel, for E. Weber) found that table wood came from northwest Bohemia and gave date of 1684 for youngest year ring.
Yes
31 ±
Pardessus
1730 C
D, Hamburg
Private collection
1627
Günther Hellwig
F,
6
32.4
16
11
19
5.3
Female
Owner to TGM, 4/13
[Unpublished, from owner 4/13: FB+S, head F+B, 3/4 (color)]
La Fille style decoration on pegbox; 3 mismatched pairs of pegs; no purfling on back. Extensive worm holes all over; shown strung and fretted, but probably not playable. W. Monical (7/13, from photos): very pure and typical example of Paris School work.
Yes
Lewis
Edward
70.2
Bass
1685 C
Edward Lewis att / the Harp in St Pauls / Allay in London 1714 [handwritten]
IL, Raanana
Private collection
1628
Bonhams: “The instrument was purchased by our client’s grandmother about 30 years ago, who was a Cellist at the RAM.”
GB, London
6
72.5
36.5
27
44
13.1
Scroll
M. Herzog to TGM, 11/05
[Bonhams, 10/31/05, lot ?219
[Bonhams, 10/31/05, lot 219: seen online]; [unpublished, from owner 8/13: F+B body, S full, upper back, C-bouts (before restoration); F+S, back 3/4, front body only (after restoration); label (all color)]
Arched back with fold; pointed corners, rounded shoulders, and overhanging edges; double purfling on front and back. Found as a cello, changed to viol at owner’s request (new neck, pegbox, and fittings) by Amit Tiefenbrun, Israel, 2009. Dendrochronology by John Topham shows wood comes from same tree as owner’s other Lewis. Label date unclear: third digit surely 1, last digit resembles a 9, but Lewis died in 1717 so more likely a 4.
Yes
Bonhams, 2005/10/31, lot 219
Lewis
Edward
70.2
Bass
1720 C
J, Tokyo ?
Private collection
1629
GB, London
4
74.3
36.8
28
45.3
13.5
Scroll
Herzog 2003, GB-10
Herzog 2003, GB-10; Sotheby’s 3/21/95, lot 65; Christie’s 3/18/92, lot 207 [not seen]
Herzog 2003, GB-10; Sotheby’s 3/21/95, lot 65 (F+B)
Arched back with fold; pointed corners, rounded shoulders, and overhanging edges. Double purfling on table and back. Neck and head not original. Sotheby’s: “Follower of Barak Norman: A Violoncello, English, circa 1720”, sold with a 1994 certificate from J & A Beares, Ltd.; Christie’s (per Herzog): “may originally have had five, or even six strings”; Herzog: by Edward Lewis II.
Yes
Bonhams, 2005/10/31, lot ???]
Mayr
Andreas Ferdinand
67.1
Bass
1749
Andreas Ferdinandus Mayr / Hof- Laut- und Geigenmacher / in Salzburg. An. 1749 [printed except 49]
USA, Evanston, IL
Private collection
1630
Richard & Jeannine Abel, Sewickley, PA, 1974-2012; Havivi Violins, New York
A, Salzburg
6
70.5
30.8
24
39.7
12.8
Female
K. Shuldiner to TGM, 6-9/13; J. Abel to TGM, 6/13
[Unpublished, from owner: FB+SS, FB+SS body only, head FB+S, label (color)]
“Reconditioned” (J. Abel’s word) in 1981 by W. Monical: new bridge, soundpost, repairs to body and fingerboard; he considered it to be late 18-early 19C work. Has an endpin; diagonal upper end of tailpiece. Back of pegbox is open-carved. C-holes quite vertical and positioned well above lower body corners. Label typography matches Lütgendorff no. 540 and Vannes no. 1501, but seems rather clean for its claimed age.
Yes
Allred
Thomas
69.5
Bass
1629
Thomas Allred / in Holborne / London 1629 [or 1625?] [handwritten]
B, Liège
Private collection
1631
Christophe Rousset, c. 2003-09; Raphaël Perulli
GB, London
7
69.2
32.5
24.1
39.8
13
Female
TGM examination, 6/11; Pierlot to TGM, 4/13
Fleming 2016, pp. 94-98
Fleming & Bryan 2016, pl. 10 (front body only, label, pl. 11 (purfling details [color], p. 96-97 (purfling details); [by TGM: FB+S, back body; reworked upper corners of F+B; head FB+S; label (color)]
Pierlot 2012a (English), 2012b (Marais)
TGM examination: 5-piece table, 2-piece back, both with double purfling and no other decoration (except long V on back at neck heel). Pegbox plain and grafted to neck. Black fingerboard has 13 inlaid ivory frets, now (and perhaps always) flush; nos. 9-10 now partly obliterated in center of FB. Cloth linings to corners and perimeter of back; soundpost plate doesn't go to edges of back; very long bass bar, running from top block to bottom block. Has been significantly cut down, in both length and width, with clearly visible traces of original purfling tracks (on both table and back) and inner edges of C-holes. Very low arching. Bridge new, but Pierlot has old one that came to him on the viol. Last digit of label date unclear, either 9 or 5, but definitely not 1 (as Pierlot now agrees). Consultation with A. Dipper (at BEMF, 6/2013): carved head based on illustration in a published collection of Ronsard's poetry; in Bertrand's style, and conversion to 7 strings done by him (like Meares at Yale, restored by Dipper); pegs are original to conversion. Neck is service wood; neck heel originally slightly larger (top points of purfling V on back now too close to edge). Table of Baltic (not Alpine) spruce, and ribs/back of Scottish maple, slab cut; purfling is holly and bog oak; amber varnish is original and typical of early 17C England. Ivory lines on fingerboard perhaps added c. 1820; cleats to repair back crack in lower treble area look to be early 20C work.
Yes
Norman
Barak
57
Bass
1720
Barak Norman / At the Bass Viol in / St Pauls Church=Yd / London Fecit / 1720 [printed except 1720]; BN monogram in center of back
E, Seville
Private collection
1632
Marius de Zayas (d. 1961); Arnold Dolmetsch (probably until mid-1930s)
GB, London
6
57.5
27
20
33.5
10
Open scroll
R. de Zayas to TGM, 6/13
[Unpublished, from owner, 6/13: FBSS, F+S body only, head FB+S, monogram on back, stamp without floral ornament on table, tailpiece, bridge and C-holes diagonally (color)]
Fingerboard, tailpiece, pegs, and bridge by Dolmetsch; neck, pegbox, and head said to be original. No perimeter purfling on either table or back; table has no central floral ornament, only circular stamp (presumably reading Barak / Norman / London / Fecit); small BN monogram in center of back, none upper and lower. Fingerboard and tailpiece dark with reddish streaks, and light-colored geometrical purfling patterns. Smallest known Norman (except trebles); owner: “lyra viol”.
Yes
76.7
Bass
1640 C
USA, Oakton, VA
Private collection
1633
Brompton’s (as owners, not auctioneers); “a country auction in Staffordshire”
GB,
6
73.2
33
24.7
39.9
12.9
Open scroll
TGM
[Unpublished, by Clarissa Bruce: FB+SS; by John Topham, numerous views during restoration]; [by TGM, before restoration: FB+S, etc. (all color)]
7-piece table with low arching and 10-petal rosette, 2-piece slab-cut back with 4 wings, both with double purfling; ribs have purfling-like lines about 15 mm in from each edge, but these are actually joints. Purchased in 2009 as a cello conversion (style of end pin suggesting c. 1900); comprehensive restoration by John Topham 2009-11, with written report (removal of previous repairs and patches, extensive repair of cracks and worm damage, lining of upper ribs, new neck and all fittings including blocks, except bass bar kept as probably original). String length chosen to be 104% of body length, as on D. Kessler’s (only slightly smaller) Jaye with its original neck; result is almost exactly 30 inches, as specified by Simpson for a division viol. Dendrochronology attempted but no viable results: perhaps table is not Alpine spruce? Similarities to work of Jaye and Smith, but not convincingly by either one, though probably from same period (2Q17C); W. Monical suggests c. 1640.
Yes
Fleischer
Hans Christoph
63.5
Bass
Johann Christian Fleischer / In Hamburg Anno 16.. [handwritten]
USA, Kansas City, MO
Private collection
1634
Richard Chabit (Orphée Music), Paris, -2013
D, Hamburg
6
62.2
27.1
18.3
35.5
10.5
Female
Owner, 2/13; J. Pringle 4/13
[Unpublished, from J. Pringle 4/13: F+S, F+B body only, head 3/4 and back, labels (color)]
3-piece table with very low arching and remains of painted purfling; double painted purfling on back. Fingerboard perhaps original, tailpiece and hookbar not (replaced by J. Pringle from tailgut). Tielke-style head with painted face (white), lips and necklace (red); pegbox and neck of one piece of wood; peg for top string closest to nut; pegs not original, but no bushing of holes. Corner blocks and bass bar plate probably original, other crossbars not. Dimensions from a tracing. Printed repair label “Repareret / Carl Warmuth / Musik & Instrumentetabl. / Christiania” [i.e., Oslo]. F. Hellwig to TGM, 4/13: soundholes shaped like Tielke’s, but body outline not; head resembles TieWV 17, but coarser work.
Yes
Lejeune
François
Quinton
1770 C
F LEJEUNE / A PARIS (stamped on button)
1636
F, Paris
(4)
Scroll
Vichy Enchères 6/15/13, lot 55
Vichy Enchères 6/15/13, lot 55
Vichy Enchères 6/15/13, lot 55 (F+B, stamp on button [color))
Converted to violin in early 19th C (new neck and head); said to be in very good condition. Not listed in online sale results: no sale?
No
Vichy Enchères 2013/06/15, lot 55
37.5
Treble
17..
IL, Raanana
Private collection
1637
D, Markneukirchen ?
6
35.7
18.2
13
25
4.5
Lion
Owner to TGM, 8/13
Phillips 8/12/93, lot 245 [catalogue not in bibliography]
[Unpublished, from owner: FB+SS, head front (color)]
Phillips: “four string instrument quinton style circa 1870”. Rounded shoulders; 1-piece arched back with (inked) purfling, also on table. Body restored 2006 by F. Lindeman (Amsterdam); neck, pegbox, and fittings by Amit Tieffenbrun (Israel), 2007. Per Lindeman (correspondence with owner, 5/06): definitely not originally a viola d’amore. Soundholes intended as Fs, but lower eyes would have come too close to edges, so truncated. Clear yellow varnish suggests Markneukirchen origin, 1H18C.
Yes
Phillips 1993/08/12, lot 245
Colin
Jean
Quinton
17..
F, Lorry les Metz
Private collection
1638
F, Mirecourt
5
Herzog 2003, QT-40
Herzog 2003, QT-40
Arched back, pointed corners, sloping shoulders, overhanging edges. (Ownership assumed from location; Herzog says only Collection: Private.)
Yes
Cousineau
Georges
33.3
Quinton
17..
Cousineau Ouvrard: luthier rue de la Jussiene (recte: Juiverie?) / Près La nouvelle Gde Poste [printed] Paris [handwritten]
GB, Guildford
Private collection
1639
F, Paris
5
35.4
16.8
20.7
Scroll
Herzog 2003, QT-43
Herzog 2003, QT-43
Herzog 2003, QT-43 [F+B]
Seen (and photographed) by Herzog in 2000; additional information from Heale. Arched back, sloping shoulders, pointed corners, overhanging edges. 2 pegs treble, 3 bass side.
Yes
Fleury
Benoit
Quinton
17..
F, Lorry les Metz
Private collection
1640
F, Paris
5
Herzog 2003, QT-45
Herzog 2003, QT-45
Arched back, pointed corners, sloping shoulders, overhanging edges.
Yes
31.2
Quinton
17..
GB, Guildford
Private collection
1641
F,
5
34
15.6
19.5
Head
Herzog 2003, QT-2
Herzog 2003, QT-2
Herzog 2003, QT-1 [front, head front]
Seen (and photographed) by Herzog in 2000; additional information from Heale. Arched back, sloping shoulders, pointed corners, overhanging edges. La Fille style head; 2 pegs treble, 3 bass side. Heale to Herzog, 1999: “Upon its back is scratched the name of a one time owner: Mlle ....nce [Forence? Constance?] D....oz.”
Yes
Chappuy
Nicolas
Quinton
17..
N CHAPPUY [stamped below the neck heel]
1642
F, Mirecourt
5
Scroll
Herzog 2003, QT-33
Herzog 2003, QT-33
Herzog’s source: Jean-Jacques Rampal, “Violin-making in Paris in the 18th century,” in EILA Kongress, Basel 1993: Les Conférences, ill. 20 (but not reproduced; evidently shown without tailpiece). Decorated pegbox.
No
Chappuy
Nicolas
Quinton
17..
F, Lorry les Metz
Private collection
1643
F, Mirecourt
5
Herzog 2003, QT-35
Herzog 2003, QT-35
Arched back, pointed corners, sloping shoulders, overhanging edges. (Ownership assumed from location; Herzog says only Collection: Private.)
Yes
Wolters
Jean-Mathias
Quinton ?
1749
J. M. Wolters fecit Lutetiae / Parisorum, au Faubourg / St. Antoine a Paris, 1749 [handwritten]
1644
Savoye
F, Paris
5 ?
Herzog 2003, QT-93; Vannes 1999, p. 398
Herzog 2003, QT-93; Vannes 1999, p. 398
Insufficient information to be sure it isn’t a pardessus: Vannes calls it a quinton, but C. Stainer (in A Dictionary of Violin Makers, 1898) “a small six-stringed viol”.
No
Quinton
17..
1645
Charles-Alphonse, Baron Vidal de Léry, -1910
F, Paris
(4)
Herzog 2003, QT-16
Herzog 2003, QT-16; De Léry 1910, lot 387
“Quinton Vieux Paris, monté en violon, avec volute refaite.” Probably not a pardessus, since converted to violin, and De Léry catalogue distinguishes between pardessus and quintons.
No
De Lery 1910, lot 387
Colin ?
Jules ??
Quinton
1770 C
1646
F, Vosges ?
(4)
35
Scroll
Herzog 2003, QT-42 (based on Vichy Enchères 06/06/02, lot 421)
Herzog 2003, QT-42 (based on Vichy Enchères 06/06/02, lot 421)
Herzog 2003, QT-42 (based on Vichy Enchères 06/06/02, lot 421)
Shoulders reshaped; neck, pegbox, and head all new. Herzog: “Comparison with quintons made by J. Colin in this catalogue [i.e., QT- 35, 40, and 91] does not subscribe to [i.e., support] the attribution of this instrument to Colin.”
No
Vichy Enchères 2002/06/06, lot 421
Le Pilleur
Pierre
32.5
Pardessus
1755
Le Pilleur privilegiez / du Roy Abaye de St Germain / 1755 [handwritten]
CDN, (Montreal)
Private collection
1648
Gerald Trimble, Knsas City, MO, 2013-16; André Bissonet, Paris
F, Paris
5
33.3
16.2
11.6
18.9
4.8
Female
J. Pringle to TGM, 9/13
[Unpublished, by/from J. Pringle: FB+S, body F+B, head FB+S, soundholes, etc. (color)]
Arched back with slight fold; high arching on table; both with single purfling plus black edging; striped ribs (2 maple, 3 fruitwood) with wildly wavy joint lines. La Fille head and carved pegbox (with “points” front and back); 3 pegs treble, 2 bass side. All original except fingerboard, tailpiece, nut, button, and 1 peg. Per Pringle, well made except design and workmanship of soundholes, which are awkwardly widened in middle and have small circles near inside edges, 2/3 down (at level of bridge foot marks).
Yes
Louvet
Jean
31.5
Pardessus
1761
Jean Louvet / a Paris / 1761 [handwritten]
F, Saint-Chartier (Indre)
Private collection
1649
F, Paris
5
33
16.4
12
20
Female
Owner to TGM, 9/13
[Unpublished, from owner: F, B 3/4, S; head F, B 3/4, ; label (color)]
Rounded shoulders; 3 pegs treble, 2 bass side; fingerboard and tailpiece veneered in tortoiseshell with ivory edging. Last digit of label date unclear; owner reads it as 1.
Yes
Bertrand
Nicolas
36.2
Treble
1685
Nicolas Bertrand / A Paris 1685 [handwritten]; also stamped BERTRAND at top of back
F, Nice
Private collection
1650
F, Paris
6
36.6
16.6
12.1
20.6
7.5
Scroll
Owner to TGM, 10/13; www.sinier-de-ridder.com
[Unpublished, from owner: front, FB+S body only, name stamp at neck heel, head FB+S (color)]; www.sinier-de-ridder.com (F+B, label [color])
Striped back (3 light, 2 dark), completely plain pegbox and scroll (with no ears). Restored by Sinier de Ridder c. 2005 (not much needed besides regluing the bass bar; instrument had never before been opened; they took no measurements). All parts original except bridge. Table is spruce, back is ash and walnut, neck and head are maple, fingerboard and tailpiece are beech veneered with ebony, pegs are boxwood. Single purfling on front, none on back. Body length (and probably also widths) measured on back.
Yes
67
Bass
18..
F,
Private collection
1652
F, Mirecourt ?
6
69.3
31.5
24
39.8
10.7
Female
J. Kraft to TGM, 10/13
[Unpublished, from J. Kraft 10/13: front full, bass soundhole, upper back, head side and 3/4 (color)]
Very similar to Skinner 5/1/11, lot 376 (attributed to Mirecourt c. 1860, based on varnish), but with different head and fingerboard/tailpiece (J. Kraft: recent neck, older head). Here also, flame holes curve out and up to form lower eyes that are more angular than round; double purfling front and back, with inner track making inward dimples at corners; on back, both tracks form long Vs at both top and bottom. Pegbox very narrow, with heavily carved back and sides; head turns sharply forward; tuning pins for sympathetic strings at bottom block.
Yes
Guersan
Louis
31
Pardessus
1762
1653
Auguste Tolbecque
F, Paris
5
32.3
Female
Vichy Enchères, 12/14/13, lot 50 (online catalogue)
Vichy Enchères, 12/14/13, lot 50 (online catalogue)
Vichy Enchères, 12/14/13, lot 50 (front, F+B body only, head side [color])
Striped back & ribs. 2 pegs treble, 3 bass side. Original pegs, “tres bel état”. Possibly the same as Jacquot 1900, no. 95 (which he calls a quinton, but his Fig. 6 proves is a pardessus), then owned by him.
Yes
Vichy Enchères 2013/12/14, lot 50
Harmand
Nicolas
35.2
Quinton
17..
F, Bellenaves
Private collection
1654
Charles Enel
F, Mirecourt
5
35.2
16.4
11.1
21.2
4
Scroll
J-M Renard to TGM, 12/13
On Renard website: F+B, head F+S (color)
2 pegs treble, 3 bass side. Brand stamp near top of back: N H (which Renard suggests = Nicolas Harmand of Mirecourt.).
Yes
Gavinies
François
Pardessus ?
1750
1655
F, Paris
5
Head
Vichy Enchères, 12/15/07, lot 60 [online catalogue]
Vichy Enchères, 12/15/07, lot 60 [online catalogue]
“Quinton,” but with a flat back, so more likely a pardessus. Original label plus branded on back. Very good condition.
No
Vichy Enchères 2007/12/15, lot 60
Hoffmann ?
Martin
Bass
D, Munich
1657
(an elderly cellist in Munich, -2009)
D, Leipzig
6
65.3
28.8
20.1
35.7
12.3
Scroll
K. Martius to TGM, 2/14
[Unpublished, from K. Martius, 2/14: FB+S (color)]
Not in Martius 2015. New neck, etc., by Klaus Martius (2011-12) after J.C. Hoffmann 1725 (Bachhaus, Leipzig), replacing too-short one with high-quality, early 20th-C. male head. No label, but outline and soundhole shape suggest to him it may be by Martin Hoffmann (or perhaps Johann Schmied/Schmidt). Measurements very close to GNM MI 507 (= NURN 25), by M. Hoffmann 1688, and top block has remains of original through-neck, but lack of rosette, inked purfling, and poor-quality wood used for table are uncharacteristic of his work.
Yes
Hoffmann
Johann Christian
62.7
Bass
1730
[damaged and mostly illegible; transcribed onto a new label:] Wortlaut des Originalzettels / Johann Christian Hoffmann / Königl. Poln. und Churfürstl. / Sachs. Hoff- Instrumenten / und Lautenmacher / in Leipzig 173[?]0 [handwritten]
D, Gera
Theater und Philharmonie Thüringen
1658
Paul Grümmer, -1964
D, Leipzig
6
60.2
29.6
21.1
37.9
13.1
Lion
Martius 2015, pp. 356-57; K. Martius to TGM, 2-3/14
Martius 2015, pp. 356-57
Martius 2015, pp. 356-57 (F+S, B body only, label [color])
Martius JCH 24. 3-piece table with F-holes not original; back with no purfling and non-original wide soundpost plate and 3 crossbars. Upper body shortened by rounding of shoulders, probably when “Reparirt von / Carl August Otto / Bernburg 1826” (handwritten label) to convert it into a small cello; original length probably similar to JCH 26 (1731), viz. 68.9 cm. Neck in style of 1920s-30s; all fittings 20th C., including lion head and sculpted tailpiece with ivory and mother-of-pearl inlays; probably done for Paul Grümmer, certainly before he gave it to his home town. (Second additional label, also handwritten: “Repariert 1967 / Claus Tauscher / Erlbach i Vogtl. / cf. Fa Hug u. Co Zürich / Erlbach”). Back widths 29.5/21.1/37.1
No
Guersan
Louis
31.8
Pardessus
1747
B,
Private collection
1659
Peter Wendland, 1985-1997; André Bissonet, Paris, -1985
F, Paris
6
0
Female
P. Wendland to TGM, 12/13; I Muthesius to TGM, 2005-2007)
[Unpublished, from P. Wendland, 12/13: front, head F+S (color)]; [unpublished, from I. Muthesius, 2007: F+B, head side (color)]
Watillon 2002 (Lawes)
Back and ribs not striped; table and back have double purfling; 2-piece back with flame descending from joint. La Fille style carving on pegbox. Wendland replaced the nut because it had been used for both 5 and 6 string setups. Repaired crack on treble side of table, below soundhole. Back widths approx. 15.5/10.6/18.8, based on photo from I. Muthesius with visible ruler.
Yes
Salomon
J. B. D.
Quinton
B, Brussels
Musée des instruments de musique
1358
1662
V & J Mahillon
F, Paris
5+5
Scroll
Mahillon 1900, p. 26
Mahillon 1900, p. 26
On museum’s website (front [color])
Website: violin d’amour. Mahillon: violon d’amour; “ne diffère guère du no. 481....” Photo shows 10 pegs (5 with large heads [3 pegs treble, 2 bass side], 5 smaller), and strung with no tailpiece.
No
69.2
Bass
16..
USA, California
Private collection
1663
Joann Freeman Shwayder Clayman, Bloomfield Hills, Michigan (mother of current owner); Edith Freeman (mother of Joann)
GB,
6
70.5
33.3
23.9
41
13.3
Open scroll
TGM visit 10/14
[By TGM: FB+S body only, head FB+S, C-bouts, table ornament, plugged 7th hole in pegbox, etc. (color)]
5-piece table with floral ornament, back with diamond patterns at bottom and below fold, both with double purfling; small open scroll, pegbox finely stippled on back and sides, with plugged hole for 7th string and, on lower back, small stamped inscription: CHERON; graft to neck, which is probably modern (purfling V at top of back has horizontal top line instead of rising to neck heel). Shouders of table seemingly enlarged by 1-2 mm in area ±20 cm from neck. Bridge by Monical, positioned 2/3 down length of C-holes.
Yes
Gilkes
Samuel
72.1
Bass
1812
Samuel Gilkes / fecit London 1812 [printed except 1812]
D, Leipzig
Private collection
1665
[bought at an auction]
GB, London
7
67.5
33.5
24.4
40.2
11.8
Female
Owner to TGM, 10-11/14, 2-3/15, 12/15
Fritzsch 2016 (front, head front (B+W); label (color)); [unpublished, from owner 3/15: body FB+S, neck/head FB+S and body open before restoration, label, FB+S after (color); from owner 10/14: F; B+S body only; pegbox + scroll, ornament at button (color)]
Fritzsch 2016 (Abel)
Bought at an auction; restored and renecked (for 7 strings) by Bernd Hiller, 2015; pegbox and head copied from the 1815 Gilkes. Back widths 33.1/24.3/40.2. Lütgendorff 2:615 shows a label very similar yet perhaps not identical in the handwritten date; even more similar is the label in a violin sold on eBay Italy “25 feb 2015 08:34:13 CET”.
Yes
Höss
Rudolph
34.5
Treble ?
1676
Ruedolph Höß Churf / Hof Lautenmacher in / München 1676
CH, Geneva
Musée d’art et d’histoire
IM 5
1544
Fritz Ernst, Geneva, -1969
D, Munich
6
40
18.4
12.2
22.5
4.9
Lion
J. Deferne to TGM, 2/10, 6/10
[Unpublished, from J. Deferne 2/10: front, head side (color)]
One of only two small Höss instruments with 6 strings (other setup not original). Date seems questionable, since he worked for Lorenz Hollmayr until latter’s death in 1681; however, he also signed Berlin 4381, dated 1670 and originally a viola d’amore with sympathetic strings.
No
Widhalm ?
Leopold
32.5
Treble ?
CH, Geneva
Musée d’art et d’histoire
IM 6
1545
Fritz Ernst, Geneva, -1969
D, Nuremberg
5
37.5
17.2
11.3
22.8
6
Head
J. Deferne to TGM, 2/10
[Unpublished, from J. Deferne 2/10: front (color)]
Rosette; 2 pegs treble, 3 bass side. Not recorded by Tourin.
No
Guersan
Louis
32
Pardessus
1763
Ludovicus / Guersan / prope /Comoediam / Gallicam / Lutetiae / Anno 1763 [printed except 73]
CH, Geneva
Musée d’art et d’histoire
9318
1546
Camille Galopin, Geneva, -1908
F, Paris
5
33.2
16.1
11.3
20
5.4
Coolie
J. Deferne to TGM, 2/10
Bachmann-Geiser 1985, p. 4
[Unpublished, from J. Deferne 2/10: F+B, head F+S (color)]
Striped back (and presumably also ribs); outer stripes less dark than center one. Floral carving on back of pegbox; 2 pags treble, 3 bass side.
No
Guersan
Louis
Pardessus
1751
Ludovicus / Guersan / prope /Comoediam / Gallicam / Lutetiae / Anno 1751 [printed except 51]
CH, Geneva
Musée d’art et d’histoire
9347
1547
Camille Galopin, Geneva, -1908
F, Paris
5
32.6
16.1
10.9
20
6
Female
J. Deferne to TGM, 2/10
Bachmann-Geiser 1985, p. 4
[Unpublished, from J. Deferne 2/10: F+B, head F+S (color)]
Striped back (and presumably also ribs). Head has ruffled collar; back of pegbox has La Fille decoration pattern; 2 pegs treble, 3 bass side.
No
Remy
Mathurin François
Quinton
1755
Remy Rue Ste marge / rite Faubourg St an / toine a Paris 1755 [printed except date]
USA, New York, NY
Metropolitan Museum of Art
2006.505
1548
Gerald Trimble, Asheville, NC, 2006; Rodolphe del Croix, Nice (www.musicantic.com)
F, Paris
5+6
35.2
16.9
12
21
Coolie
Trimble to TGM (phone) 6/09
Museum’s annual report 2006-07 (on website)
On museum’s website (F+B [color]); www.musicantic.com (dealer in Nice)
Trimble: brass tuning pins for sympathetic strings located below tailgut button. Museum: Quinton d’amour; label appears to be original. Watchkey tuning of sympathetic strings. Wear marks reveal it has been played under the chin. 3 pegs treble, 2 bass side.
No
Tielke
Joachim
68
Bass
1697
JOACHIM TIELKE // in Hamburg/ an. 1697 [large format, printed except 97]
A, Vienna
Vázquez, José
1549
Heirs of Pan Arnborg, Oslo (sold 2007 through Sotheby’s Norway); acquired by Vázquez in 2008
D, Hamburg
(4)
64
28.7
21.6
35.4
11.9
Female
Hellwig 2011, pp. 325-26; Vázquez website
Hellwig 2011, pp. 325-26; Vázquez website
Hellwig 2011, pp. 325-26 front body only, head FB+S (strung as a cello) [color]); Vázquez website (F+B body only, treble soundhole, head FB+S, label [color]) & exhibition 2010 (front [color])
Hellwig 2011, TieWV 099; not in Hellwig 1980. 2-piece table with crescent-shaped soundholes, ivory edging, and wide single purfling; bass bar probably not original. 2-piece back (arched); neck grafted; pegbox with open-carved back; peg for top string is closest to nut. Back widths 27.7/21.6/34.8. Vázquez website: Carved ornament removed from back. Photos show cello setup using middle 4 of 6 holes in pegbox.“In an extraordinarily pure state of preservation” despite having been (carefully) transforned into a cello, including “an immaculate, complete layer of its original varnish, showing the typical craquelé structure”; bass bar may not be original. Dendrochronology gives date of 1688 for youngest growth ring on table. Very similar to viol shown in a fresco in the Dreifaltigkeitskirche near Salzburg (by J. M. Rottmayr, 1700; photo on website). Dimensions 64.0, 28.7/21.6/35.4, 11.9, 68.0.
Yes
Klotz
Mathias
80.6
Violone
1715
Mathias Khloz Lautenmacher in Mittenwald Anno 1715
F, Paris
Private collection
1550
D, Mittenwald
6
83.2
47.8
24.6
37.7
14.7
Lion
Krattenmacher 2002
Krattenmacher 2002 (http://www.krattenmacher.com/dynasite.cfm?dsmid=11508&dspaid=56987)
Krattenmacher 2002 (F+B body only, head F+S [color])
Neck not original; could originally have had 4, 5, or 6 strings. Owner bought it in the Mittenwald area; said to be one of only 5 extant instruments by this maker (same claim in Drescher 1990 is credited to Wolfgang Zunterer). Back and ribs “cut on a half-slab”; bottom of back “has been visibly replaced in a past repair.” F-holes set wide apart (11.2 cm between); purfling rather close to edge, featuring “a comparatively wide white wood strip framed by two thinner black strips.” Not much original varnish, “but what remains is of the highest quality.” Repaired in Innsbruck, 20th C.; restored in Paris in 1998. (Article seen on author’s website, where no page numbers are given for original publication.)
Yes
Vaillan
Barthélémy
Bass
1662
Barthelemy Vaillan / Marsille. 1662 [handwritten]
1551
Collection Albert Blanchi, Nice
F, Marseille
Moor
Vannes 1999, p. 372
Vannes 1999, p. 372
Vannes 1999 (label, no. 2257)
“On connaît de lui une jolie viole de gambe (collection Blanchi, de Nice) fond plat, belle tête de Maure sculptée, vernis rouge foncé, marqueterie Renaissance, rosette ivoire et ébène.” (Vannes: Albert Blanchi 1871-1942, violin maker in Nice, successor to his father Augustin 1828-1899; “Il reproduisit aussi pour des collectionneurs quelques violes et pochettes anciennes.”) Date very clear on label reproduced by Vannes, but questionable in view of same maker's 1704 pardessus in Marseille's Musée Grobet-Labadié.
Yes
Tolbecque
Auguste
Bass
1898
A Tolbecque 1899 [pencil on wood]
F, Niort
Musée du Donjon
001.2.1
1553
F, Niort
6
Male
Museum’s website
Museum’s website
On museum’s website (front [color])
Based on instrument in painting of St. Cecilia by Dominichino (in the Louvre): square shoulders, upper bouts have one pair of inner corners (dimples), no outer corners above waist, corners below waist are squared off; F-holes have “fish-tails” instead of lower eyes. Coat of arms on table; arabesques painted on table and ribs (and inlaid on fingerboard and tailpiece), but back is plain; single purfling. Head of bearded man, possibly a self-portrait of the maker.
No
Tolbecque
Auguste
76
Bass
1900 C
F, Niort
Musée du Donjon
995.39.1
1554
F, Niort
6
78.5
35.7
42.2
13.6
Male
Museum’s website
Museum’s website
On museum’s website (front [color])
Square shoulders; upper bouts form pronounced S-curves ending in downward-pointing corners; no outer corners below waist; one pair of inner corners (dimples) in lower bouts. Supposedly based on an instrument from the former Petit collection, now at the Musée de la Musique in Paris (perhaps E.790, a treble by Martino Heel, with less exaggerated upper bouts and soundholes?). 1-piece back, ribs, and neck of red walnut, all with painted Renaissance-style floral decoration; painted coat of arms (fake?) on table; black-and-white edging. Sculpted tailpiece, diagonal end of fingerboard. Sold at maker’s estate sale in 1922.
No
Pardessus
17..
F, Mirecourt
Musée de la lutherie
1996.4.1
1555
F,
5
19.8
Coolie
Online database at www.culture.gouv.fr/public/mistral/joconde (accessed 5/10)
Online database
Online database (FB+S [color[)
2-piece table and back (table with single purfling); head by LaFille; 3 pegs treble, 2 bass side. Tailpiece ebony, fingerboard satined black; shown with 8 frets on neck.
No
71.5
Bass
[Joseph Guarnerius fecit / Cremonae Anno xxxx IHS]; Sotheby’s: Joseph Guarnerius Cremone Anno 1745
J, Tokyo
Private collection
1556
Toshinari Ohashi [who acquired it at a European auction, i.e. Sotheby’s]
GB,
6
69.5
32
23.5
39
Female
M. Igarashi to TGM, 7/10
Herzog 2003, GB-7; Sotheby’s 4/3/85, lot 73; Sotheby’s 12/16/71, lot 186 [not seen]
Sotheby’s 4/3/85, lot 73 (back); [unpublished, from M. Igarashi: front, back and side body only, table ornament, head FB+S, (label), many details (color)]
Body appears (from photos) to have been enlarged all the way around the perimeter of table and back (both now with single purfling), likely at time of cello conversion, though corners are currently unpointed. Igarashi: used to have C holes instead of F holes; has been extensively restored. Sotheby’s: “An Interesting English Violoncello converted from a Viola da Gamba, of the Richard Meares School, circa 1680; labelled Joseph Guarnerius Cremone Anno 1745, the arched two-piece back ... with purfling of geometrical design ... the table ... with a floral design beneath the fingerboard”; ribs later; length of back 71.6 cm; photo shows pointed body corners as well as cello neck and pegbox. Design on back (central grid of 7x7 diamonds plus smaller groups of diamonds with center-pointing arrow at bottom and below fold) also found on a viol that M. Heale offered for sale in 2001 as “considered to have been made by George Miller of London circa 1640”. Hebbert (pvt. comm., 8/10): table ornament is one of Barak Norman’s designs, but decoration of back not in his style (nor is it like Meares, lacking arrows at corners of central grid); perhaps an older instrument with replacement table by Norman, or else a composite of more recent origin. Herzog: back, though arched, was originally folded at top as well (this portion now replaced); original carved head.
Yes
Sotheby’s 1985/04/03, lot 73; Sotheby’s 1971/12/16, lot 186
Salomon
J. B. D.
32.7
Quinton
1753
Salomon Luthier a Ste Cecille / Place de l’Etoile a Paris 1753 [printed except 53]
NL, Amsterdam
Private collection
1558
F, Paris
5
35.3
16.1
11.1
20.7
3.4
Male
TGM visit (at BEMF) 6/17; J. Dunford to TGM, 8/10; Vichy Enchères 12/12/09, lot 50 (viewed on line)
Vichy Enchères 12/12/09, lot 50 (viewed on line)
[Unpublished, from owner 6/14: front (color); from J. Dunford 8/10 (forwarding from owner): F+B, head 3/4, pegbox back (color)]
Catalogue: made by Salomon, Paris, 1753, with original label; original neck had been narrowed, now widened (by Guust Francois, Amsterdam). Male head with mustache (and hat); La Fille style decoration on back of pegbox. 3 pegs treble, 2 bass side.
Yes
Vichy Enchères 2009/12/12, lot 50
Salomon
J. B. D.
Quinton
1750 C
Salomon à Paris [stamped on back, off-center toward bass side]
1559
F, Paris
5
36.8
Scroll
Sotheby’s 10/5/10, lot 163
Sotheby’s 10/5/10, lot 163
Sotheby’s 10/5/10, lot 163 (F+B, body only; head 3/4 [color])
Body length is length of back; photo of pegbox and scroll also (and larger) on back cover of catalogue, showing La Fille-like decoration on side; 3 pegs treble, 2 bass side.
No
Sotheby’s 2010/10/05, lot 163
Bass
17..
1560
F, ?
6
Female
Dorotheum auction 9/27/10, lot 8
Dorotheum auction 9/27/10, lot 8
Dorotheum auction 9/27/10, lot 8 (F+B, head 3/4 [color])
Catalogue: probably French, end of 18th C.; table probably a later addition. Back, sides and front edges of pegbox carved, head wears a golden crown. Soundholes have small circular hole on inside edges, just below middle; rosette half-covered by fingerboard. Perimeter of table and center joint of back have narrow strip of dark-and-light decoration; back of neck also has two dark stripes separated by narrower light wood, with more light wood along edges; no purfling on back.
Yes
Dorotheum 2010/9/27, lot 8
Boivin ?
Claude
66.6
Bass
1727 ?
Claude Boivin / Rue Tiquetonne a la Guittarre Royale / a Paris 1727 [printed except 27]
CH, Basel
Private collection
1561
[a Swiss cellist who had lived in Vienna for many years, 1950s - c. 1990]
F, Paris ?
6
68.5
32.8
24
38.9
13
Female
Owner to TGM, 7/09 + 9/10
[Unpublished, from owner: front, B+S body only, head FB+S, label (color)]
Only the body is original; neck probably made in 1950s for previous owner (clear graft to pegbox, whose back is decorated but sides plain). 5-piece striped back (dark-light-dark-light-dark), with purfling outlining each dark stripe. Fingerboard and tailpiece honey-colored with darker frame; top of hookbar is rectangular; hole bored for an endpin; bridge by P. Reichlin. Interior fittings rather robust and new looking. Owner notes that “some people I’ve talked to thought maybe the whole instrument was made around 1900. I would doubt that but ... have done no research.... I did have the wood of the table examined in Hamburg and it is older than 1727.” (However, Boivin didn’t use this address and sign until 1740, when he bought Chiquelier’s shop.)
Yes
Hoffmann
Johann Christian
61.2
Bass
D, Potsdam
Private collection
1563
Private owner, D-Schneeberg, -2007
D, Leipzig
6
63.6
30.6
22.5
36.3
12.5
Female
Martius 2015, pp. 346-47; K. Martius to TGM, 3/14; TGM visit (with K. Martius), 11/10
Martius 2015, pp. 346-47
Martius 2015, pp. 248 (head F+S [color]), 346-47 (FB+S, head B+S, remnants of label [color]); [unpublished, by & from owner: FB+S, head 3/4, B+S, C bouts (color)]; [by TGM: remnants of label (color)]
Martius JCH 08. Not in list by Leonard & Martius 1990; Martius confirms it’s a new discovery since then. Table with rosette (exceptional for this maker) and double purfling, very high arching with slight recurve; bass bar not original. Back with no purfling and 3 crossbars plus soundpost plate; very wide wood lining on back center joint; back and ribs have strong and closely spaced flames. Original pegbox with carved back and sides (small piercings in back) grafted to non-original neck; head old and similar but not identical to other Hoffmanns. Neck and fittings probably from first third of 20th C., including solid ebony fingerboard and sculpted tailpiece, both with diagonal ends nearest bridge; tailgut now but formerly hookbar; when seen, all strings metal with fine tuner for top D. Varnish “ganz schön”. A few tiny fragments of label remain; as of 3/14, KM reports that Veit Heller recognized them as matching the inscriptions used by JCH in the early 1720s, suggesting that this is his earliest extant viol; also much smaller than others.
Yes
Gilkes
Samuel
63.6
Bass
1826
Samuel Gilkes / fecit London 1826
D, Leipzig
Private collection
1564
Maria Depiereux, Düsseldorf, -2016; Alfred Lessing, Düsseldorf
GB, London
6
57
27.8
17.6
34.5
9
Scroll
T. Fritzsch to TGM, 11/14, 12/15; T. Muthesius pvt. comm. 11/10
[Unpublished, from T. Fritzsch 2/17: front (color) and 9/16: front (color); from previous owner via T. Fritzsch 11/14: FB+S, head FB+S, bottom rib (color); from T. Muthesius 11/10: front body only]
Arched back, tailgut, overhanging edges. Soundholes long, narrow, with smooth single curve (not multiple wiggles), widest in middle, with no eyes top or bottom. Neck, pegbox and scroll original, per T. Fritzsch (to TGM, 6/16). Before restoration 2016, string length was 62.7.
Yes
69.8
Bass
HENRIE : JAY : IN : / SOVTHWARKE : / 1619 [handwritten]
CH, Samstagern
Private collection
1565
GB,
7
76.7
34.9
24.9
42
14.4
Female
TGM visit 11/10
[By TGM: front, FB+S body only, head FB+S, table ornament, bass soundhole, label; plus F+B body only by Reichlin for TGM (color)]
5-piece table with profuse floral decoration both above and below the bridge area; soundholes and their purfling have an outward bulge midway along the outer edge, unusual but seemingly original. 2-piece back with 4 wings and 2 very large diamond grids at bottom and below fold (but none in middle); both with double purfling, also as boxes on ribs, which were formerly deeper by at least 5 mm, as outer purfling line is now lost along table joint. Neck by Reichlin clearly grafted to pegbox, which has carved back but plain sides; it and head were on viol when acquired, c. 1970, and appear old, probably French; currently 4 pegs treble, 3 bass side. Fingerboard blonde and inlaid similarly to Kessler’s Jaye; tailpiece darker and plain except for a black perimeter line; both by Reichlin. Crossbars above and below soundpost plate; cloth linings between back and ribs, but corner blocks and (wide) wood strip on back center joint. Label probably not original: unnaturally clean, with no ink corrosion, and extremely similar to that in Kessler’s Jaye, though not a photographic copy as some minor differences of lettering exist.
Yes
Norman
Barak
Bass
1709
Barak Norman / At the Basse Viol / [in Saint] Pauls Ally / London Fecit / 1709 [handwritten]; also Barak / Norman / London / Fecit [stamped on table]; BN monogram in center of back
CH, Samstagern
Private collection
1566
[bought at Phillips auction, c. 1980]
GB, London
6
68.5
30.4
23.2
37.2
12.7
Open scroll
TGM visit 11/10
[By TGM: FB+S body only, head side, neck heel, label (color)]
3-piece table with Type IV ornament; 2-piece back with BN monogram in center, upper and lower Thype II; both with double purfling. Bottom of neck perhaps orginal, rest not and clearly grafted to pegbox, in which 2 sets of holes (nos. 3 and 6 from nut) are plugged for use as cello. No fingerboard, tailpiece, or bridge when seen; hookbar planed down and replaced by button for tailgut. No crossbars on back except soundpost plate; wood linings on back perimeter and center joint, cloth at fold; top block narrow and faceted, with 2 large screws.
Yes
[Phillips 1980 C]
Göbler
Johann Casper
72.2
Bass
1784
Johann Casper Göbler, Lauten- / und Geigenmacher in Breslau / 1784 [printed except 84]
D, Leipzig
Private collection
1567
D, Breslau
7
65.8
32.2
24
40.3
12.9
Scroll
T. Fritzsch to TGM, 1/06, 1+12/10
[Unpublished, from owner: F+B, top off, top and bottom blocks, label (color)]
Fritzsch 2015 (Telemann); Fritzsch 2012 (Abel & J.C. Bach); Fritzsch 2010 (Bach Brandenburgs, Trauer-Ode, and both Passions, with Leipzig Gewandhaus Orchestra--not in database, lacking full information)
Restored by Bernd Hiller, Markneukirchen, c. 2006. Table (with oval rosette and blond/black edging) and neck (including blond fingerboard and tailpiece) not original. Per owner, first belonged to Joachim Carl Count of Maltzan (1733-1817), the Prussian ambassador in London (1766-1782) and a gambist and subscriber to the Bach Abel concerts. He bought it upon returning to Breslau in 1784; in 1786 he moved to Militsch (Milicz), Silesia, now Poland, some 55 km northwest of Breslau, succeeding his father (Joachim Andreas II) as Reichsgraf.
Yes
Hummel
Matthias
Bass
Sebastian Schelle / aus Nuremberg. 1648 [handwritten]
D, Mittenwald
Geigenbaumuseum
145
1568
D, Nuremberg
68.8
30.1
22.2
37.7
13
Scroll
K. Martius to TGM, 12./10, 1/11
[Unpublished, from K. Martius: front, body only (color)]
Handwriting and paper type suggest the label is a fake dating from significantly later than the date given; Hummel attribution by K. Martius, based on similarities to viols now in Geneva and Nuremberg. Cello neck and fingerboard from late 18th or early 19th C.. 4-piece table, 2-piece back, both with single purfling and parchment on joints; original bass bar. (Martius 2016 widths 30.1/21.6/38.0)
No
Quinton
17..
1570
F, Mirecourt
5
Female
Vichy Enchères 12/11/10, lot 64 (viewed on line)
Vichy Enchères 12/11/10, lot 64 online catalogue)
Vichy Enchères 12/11/10, lot 64 (F+B [color])
“Montage plus récent. Etat neuf.” Black fingerboard but blond sculpted tailpiece (with fine tuner for top string). 2 pegs treble, 3 bass side.
No
Vichy Enchères 2010/12/11, lot 64
Guersan ?
Louis
Pardessus
17..
[Guersan]
1571
F, Paris
5
Female
Vichy Enchères 12/11/10, lot 70 (viewed on line)
Vichy Enchères 12/11/10, lot 70 (viewed on line)
Vichy Enchères 12/11/10, lot 70 (front full, back body only) [color])
Striped back, double purfling front and back. Diagonal tailpiece with tailgut. 2 pegs treble, 3 bass side. “Faite à Paris au XVIIIème ... portant étiquette de Guersan” (implying the auctioneers don’t believe it’s really by Guersan?). Also offered June 18, 2011, lot 48.
Yes
Vichy Enchères 2010/12/11, lot 70
Francais
Henry
Bass
1902
[Caressa & Français no. 27]
1572
F, Paris
7+7 (?)
Open scroll
Vichy Enchères 12/11/10, lot 75 (viewed on line)
Vichy Enchères 12/11/10, lot 75 (viewed on line)
Vichy Enchères 12/11/10, lot 75 (front, back at angle from below [color]); Vichy Enchères 6/14/08, lot ??, selective advertising brochure, viewed online (F+B [color])
“Belle viole da gambe faite par Henry FRANCAIS en 1902 à sept cordes + cordes sympathiques, portant étiquette originale Caressa & Français n• 27.” Both table and back have double purfling plus single around C-holes and fleur-de-lys at body corners; recognized by S. Peck as copy of R. Chéron = Brussels 1432 (BRUS 40).
Yes
Vichy Enchères 2010/12/11, lot 75
Bass
1900 C
1573
F, Mirecourt
7+7 (?)
Lion
Vichy Enchères 12/11/10, lot 79 (viewed on line)
Vichy Enchères 12/11/10, lot 79 (viewed on line)
Vichy Enchères 12/11/10, lot 79 (front, back at angle from below [color])
“Viole de gambe à tête de lion, sept cordes principales + cordes sympathiques accrochées au tasseau du bas faite à Mirecourt vers 1900.”
Yes
Vichy Enchères 2010/12/11, lot 79
65.5
Bass
D, Blankenburg/Harz
Stiftung Kloster Michaelstein
1574
D,
6
65
29.2
22.2
37.2
12.6
Lion
M. Lustig to TGM, 2/11; TGM visit 11/10
[Unpublished, from F. Hellwig: front full, head FB+S (color)]
Brown-and-white edging to table, fingerboard, and tailpiece. Head and pegbox are gilded. Measurements from museum, not by TGM.
No
Bass
17..
F, Paris
Musée des Arts Décoratifs
D.AD.23.470
1578
I,
(4)
Male
Website of Musée de la musique (‘inventaire national en ligne”)
Website of Musée de la musique (FB+S, head 3/4 and back, C-hole details [color])
Cello conversion. Date “fin 18e”. Mode d’acquisition: Dépôt, 1994
No
Salomon
J. B. D.
29.6
Pardessus
1755
SALOMON / Maitre Luthier à Paris, Rue / L’Arbre- sec à Ste. Cecille / 1755 [printed except 1755]
1581
F, Paris
5
34
15
10.2
19
4.2
Female
Christie’s 4/29/11, lot 90 (and e-mails 4/11)
Christie’s 4/29/11, lot 90
Christie’s 4/29/11, lot 90 (front, head 3/4 [color]); [unpublished, from Christie’s: back body only, C holes, head B+S, label (color)]
“From the estate of a professional musician”; 1-piece back; 2 pegs treble, 3 bass side; body length taken on back. Clear graft between pebox and neck in an unusual place, just below lowest peghole. TGM: soundholes and carved head very similar to TOKYO 1, a pardessus by Simon Gilbert (Metz, 1752); similar soundholes but different head on Gilbert pardessus of 1730 at Harvard.
No
Christie’s 2011/04/29, lot 90
Bass
[None]
1582
GB,
7
Open scroll
[From M. Fleming, 4/11]
[From M. Fleming, 4/11: FB+S, head 3/4 (color)]
Striped back (5 pieces) with diamond-pattern decoration on all dark stripes in all three bouts (upper, middle, and lower), and more diamond-pattern decorations on ribs (upper and lower bouts only); single purfling on perimeter of table, and around each dark stripe on back. Scroll is open not only from sides but also from front and top; very similar to instrument owned by Mrs. Beare (both have grafts between pegbox and neck, but not to scroll). Body resembles STOCK 29 (pseudo-Jaye) and B. Franklin’s pseudo-Boivin: outline, soundholes (wide, with eyes below corners and treble less vertical), and striped back.
No
Aman
Georg
69.3
Bass
17..
Georg Aman, Lauten- und Geigenmacher, in Augspurg, 17 [printed]
NL, Utrecht
Private collection
1583
Alfred Lessing, Düsseldorf, before 1963-2005
D, Augsburg
6
69.8
30.5
21.8
38
13.5
Scroll
Owner to TGM, 4/11; owner’s website (www.gambomania.com) and publicity
On owner’s website and publicity (front, front 3/4 [color]); Cable 1977 (German 17C)
Meulenbroeks 2008 (Bach); Meulenbroeks 2006 (Marais); Cable 1977 (German 17C)
Long, narrow soundholes; large, round rosette half covered by current fingerboard (which is black with a blond border and a blond decoration near the lower end). Date given as 1712 on Cable 1977, 1705 in current owner’s publicity; last two digits now illegible so both are guesses.
Yes
64
Bass
17..
A, Vienna
Vázquez, José
1584
D,
7
69.2
31
22.2
43
13
Scroll
M. Fleming to TGM, 4/11
Brompton’s 6/21/11, lot 247 (online catalogue)
Brompton’s 6/21/11, lot 247 (F+B, head side, rosette [color]); [unpublished, from M. Fleming 4/11: FB+S, body only (color)]
Body has normal upper corners, plus pair of dimples just below soundholes; back and ribs of bird’s-eye maple. Rosette; soundholes have lower eyes only; no purfling, but table has thin black edging. At one time had sympathetic strings. Plain black fingerboard and tailpiece, latter flat with 7 keyhole slots; blond pegs. Perhaps Bohemian, 2Q18C? (Seen by Fleming as consultant in preparation for auction at Brompton’s.) Brompton’s online listing gives BL 72.1, SL 63.6 cm; notes “repairs to table, ribs and back” and “cracks in back by sound post area”; sold for £6,000.
Yes
Brompton’s 2011/06/21, lot 247
Gagliano
Raffaele & Antonio
Bass
18..
Raffaele ed Antonio Gagliano / Fabbricanti e Negotianti / Di Violini, Violoncelli, Contrabassi, / e Corde armoniche / Strada Sedile di S. Giuseppe n. 17 primo piano
I, Verona
Private collection
1586
Renato Scrollavezza (luthier), Parma, -1983
I, Naples
7
66
12
Scroll
Owner to TGM, 5/11
Rasi 2014a (front [color]); [unpublished, from owner 5/11: F 7/8, FB+S body only, head F+S, bass F-hole, label (color)]
Rasi 2016 (Marais solo); Rasi 2000 (Marais); Rasi 2014 (CPE Bach); Rasi 1992 (JS Bach)
Bought in 1983 with cello neck; restored with 6 strings by Guy Derat (Paris) in 1984; converted to 7 strings by Franco Giraud (Florence) in 1990. Label undated but must be 19th century: Raffaele lived c. 1790-1857, Antonio (II) 1778-1860. Also used on ensemble recordings by Accademia Strumentale Italiana, including Rasi 2014a (Concerto di Viole, played by Leonardo Bortolotto) and others not explicitly documented.
Yes
66.5
Bass
1860 C
... Francesco Ruger ...
1587
(Private owner in North Carolina, by inheritance)
F, Mirecourt ?
6
69.3
30
23
39
10
Female
Skinner 5/1/11, lot 376 and D. Bonsey to TGM 5/11
Skinner 5/1/11, lot 376
Skinner 5/1/11, lot 376 (F+B body only, head FB+S, bottom rib [color]; only online, not in printed catalogue)
Flame holes curve out and up to form lower eyes that are more angular than round; double purfling front and back, with inner track making inward dimples at corners; on back, both tracks form long Vs at both top and bottom. Pegbox very narrow, with heavily carved back and sides; head turns sharply forward. Fingerboard brown with visible figure; tailpiece black, with rounded upper end and tailgut; tuning pins for sympathetic strings at bottom block. Body length taken on back, upper width at corners. Attribution based on overall appearance, especially varnish, being reminiscent of Mirecourt work (per D. Bonsey).
Yes
Skinner 2011/05/01, lot 376
Chappuy
Nicolas
Quinton
1750 C
E, Barcelona
Savall, Jordi
1588
F, Mirecourt
6 [sic]
Female
Savall 2009, 2010 (Celtic Viol I + II)
Savall 2009, 2010 (Celtic Viol I+II)
Savall 2009, cover (bridge to head, 3/4) & p. 7 (body front, 7/8) [color])
Savall 2009, 2010 (Celtic Viol I+II)
Photo on p. 7 of booklet for Celtic Viol I clearly shows a quinton body with six strings.
Yes
Chappuy
Nicolas
Pardessus
1730 C ?
E, Barcelona
Savall, Jordi
1589
F, Mirecourt
5
Savall 2009 (Celtic Viol I)
Savall 2009 (Celtic Viol I)
Savall 2009 (Celtic Viol I); Savall 2002 (Lawes)
Savall’s publicity calls it a 5-stringed treble, but probably a pardessus (or else a quinton?). Date given (more plausibly) as 1750 on Lawes recording.
Yes
Chappuy
Nicolas
Quinton
17..
“N. CHAPPUY” branded at button; no label
USA, New Haven
Yale University
4678
1590
Andrew Petryn, (New Haven, CT), -2011
F, Paris
5
37.5
16.7
11.2
20.8
3.3
Scroll
Dipper 2012; Yale 2011, p. 3 [and e-mails from museum]
Dipper 2012; Yale 2011, p. 3
On museum’s website (FB+S [color]); Dipper 2012 (F++B, head F+S, brand stamp, 66 details before & during restoration [color]); Yale 2011, p. 3
2 pegs treble, 3 bass side; “ca. 1770”. Restored by Andrew Dipper, 2012: 3 new pegs, tailpiece, bridge, repair of cracks and shrinkage. Website: varnish is original.
No
Zenatto ?
Pietro
Violone
1683 ?
Pietro Zenatto fece in Treviso anno 1683
B, Brussels
Musée des instruments de musique
1437
1591
Count Pietro Correr, Venice, -1886
I, Treviso
5
206
73.5
24
Scroll
Moens 2004, pp. 87-90
Moens 2004, esp. pp. 87-90; Mahillon 1900, 3:56-57
On museum’s website (front [color]); Moens 2004, p. 89 (head back 3/4, neck heel); Baines 1966, pl. 58 (front)
2 pegs treble, 3 bass side. Moens: label (placed beneath treble soundhole) nearly identical to 1433, but instruments very different (outline, F-holes, purfling [double on table, single on back], interior fittings, presence of overhanging edges), also better qualtiy craftsmanship. Neck and pegbox, inlaid fingerboard and tailpiece don’t belong to body. Baines 1966: double bass.
No
Zenatto ?
Pietro
Violone
1680 C ?
B, Brussels
Musée des instruments de musique
1438
1592
Count Pietro Correr, Venice, -1886
I, Treviso
5
230
92
29
Scroll
Moens 2004, esp. p. 90; Mahillon 1900, 3:57
Moens 2004, esp. p. 90; Mahillon 1900, 3:57
On museum’s website (front [color]); Moens 2004, p. 91 (FB+S)
2 pegs treble, 3 bass side. No label, but attributed to Zenatto by Mahillon. However, he calls it a “grande contrebasse” (unlike 1435-37, “grande basse de viole de gambe”). Moens: 4-piece table (only middle 2 cut on quarter) with crudely carved arching and double purfling (each only a single black line); 6-piece back; pegbox very like those of 1433 and 1437 but slightly larger. Extremely large and heavy.
No
Tolbecque
Auguste
Bass ?
1877
B, Brussels
Musée des instruments de musique
0488
1593
Auguste Tolbecque, -1879
F, Niort ?
15
Head
Mahillon 2/1893, 1:468
Mahillon 2/1893, 1:468
On museum’s website (front, side 7/8 [color])
Mahillon: Basse de viole ... d’après un modèle de Gaspar da Salo; museum’s website: viole de gambe expérimentale. 2 strings lie beyond bass edge of fingerboard; others apparently all to be bowed (none sympathetic, though Mahillon says “six cordes principales”): attempt at a lira da gamba? Blond fingerboard and tailpiece with lighter floral inlays; painted nymphs on table either side of tailpiece, male head plus 2 flying cupids at end of fingerboard; perimeter outlined with row of white dots, perhaps mother of pearl. Back and ribs heavily decorated.
No
Bass ?
1650 C
Zuane Rechardini di Venezia / all’ insegna del Basso 1605 [printed]
B, Brussels
Musée des instruments de musique
1434
1594
Count Pietro Correr, Venice, -1886
I,
5
142
45
15
Moens 2004, esp. pp. 94-97; Lütgendorff 1922, 2:407; Mahillon 1900, 3:55
Moens 2004, esp. pp. 94-97; Lütgendorff 1922, 2:407; Mahillon 1900, 3:55
On museum’s website (front [color]); Pio 2011, p. 97 (FB+S); Moens 2004, pp. 95-96 (F+S, head S+B, neck heel)
Mahillon: Basse quinte de viole de braccio, made from a large cello but has a flat back; museum’s website: basse de viole de gambe, auteur inconnu, ca. 1650. Lütgendorff gives label text and calls it a Terzino di Contrabasso (Baryton); Drescher, s.v. Rechaldini, says Brussels 1378 is another bass attributed to him [but larger: total length 160, max width 59; 5 strings, semi-pointed body corners; also ex-Correr: museum calls it a violone, but Mahillon said contrebasse; not in this database], and Berlin museum has 1609 theorbo; Venetian archives document a violinist by that name in 1656-57, though no indication he also built instruments, so perhaps not the same person. (cf. Moens 2004, p. 79)
No
Tielke
Joachim
Bass
1678
JOACHIM IELKE // in Hamburg/ An. 1678 [large format, printed except 78]
POL, Krakow
Philharmonie Krakau
FK 5090
1595
D, Hamburg
6
70.5
32.1
23
39.7
12.5
Hellwig 2011, pp. 266-67
Hellwig 2011, pp. 266-67
Hellwig 2011, p. 266 (front, center bouts only [color])
Hellwig 2011, TieWV 016; not in Hellwig 1980. 2-piece table with wings in lower bouts and double purfling; 2-piece back (flat with fold) with none. Neck, pegbox, head, and all fittings not original; photo shows FB and TP with diagonal ends nearest bridge. Back widths 32.1/22.0/39.2. A plain and not very well preserved instrument from the early period of Tielke’s workshop.
No
Tielke
Joachim
Bass
1689-95
J, Yokohama
Private collection
1596
D, Hamburg
6
68.5
31.9
23.2
38.8
11.5
Lion
Hellwig 2011, pp. 299-300
Hellwig 2011, pp. 299-300, 377; Herzog 2003, D-16; Sotheby’s 4/5/1985, lot 56 (back [color?])
Hellwig 2011, p. 299 (back, body only [color]); Sotheby’s 4/5/84, lot 56 (F+B)
Hellwig 2011, TieWV 073; not in Hellwig 1980. 2-piece table with no purfling, perhaps a replacement; soundholes originally C, then changed to F, later back to C. Upper and lower ribs overlap middle-bout ribs at body corners (unusual). 2-piece back, arched, with well-preserved varnish and carved ornament (with higher relief than usual) glued on at top but no purfling. Neck and lower part of pegbox new; peg for top string is closest to nut. Dating based on lion head (first found in 1689) and arrangement of pegs (last found in 1695). Provenance: Sotheby’s London, 1985 (recte 4/5/1984, lot 56); subsequently (re-)converted from cello to viol setup by Masato Sato for the present owner. Back widths 32.0/23.3/39.0. Also mentioned p. 377 as owner unknown, based only on Sotheby’s 1984. Sotheby’s 1984: converted to cello in England c. 1800; only back and head by Tielke. Apparently a new table was first made to viol outline and then enlarged to cello shape, like the back. Label: “Antonius Stradivarius Cremonensis Faciebat Anno 1719”; length of back 74.5 cm.
Yes
Sotheby’s 1985/04/05, lot 56
Tielke
Joachim
Bass
1700
JOACHIM TIELKE // in Hamburg/ An. 1700 [large format, printed except 700, altered from printed 16--]
S, Stockholm
Private collection
1597
D, Hamburg
6 ?
70.3
31.7
23.4
39.7
13.5
Female
Hellwig 2011, p. 336
Hellwig 2011, p. 336
Hellwig 2011, p. 336 (pegbox B+S [color])
Hellwig 2011, TieWV 113; not in Hellwig 1980. 2-piece table with wings in lower bouts, with no features of Tielke’s work except 5-ply purfling; somewhat reminiscent of J. G. Mothe but not definitely attributable to him either. 2-piece back, arched, both with purfling and ivory edging (both also on rib corners). Neck not original; due to an earlier cello conversion, only upper part of pegbox (with carved sides and open-carved back but lacking its original ivory edging) is original; unclear if it originally had 6 or 7 pegs; female head is later, with much darker varnish. Back widths 31.5/23.0/39.3. Acquired in 1980 by present owner; previous owners unknown.
Yes
Tielke
Joachim
Bass
1702
JOACHIM TIELKE // in Hamburg, A. 1702 [small format, printed except 702, altered from printed 16--]
1598
Aanesen family, Lilleström, Norway
D, Hamburg
6
Female
Hellwig 2011, pp. 346-47
Hellwig 2011, pp. 346-47
Hellwig 2011, p. 347 (front [color])
Hellwig 2011, TieWV 128; not in Hellwig 1980. Not seen by F. Hellwig; all information from G. Hellwig’s archive. Table with double purfling and sickle-shaped soundholes, arched back with no purfling. Neck narrowed for use as a cello; pegbox with carved sides and open-carved back.
Yes
Tielke
Joachim
Bass
1705
JOACHIM TIELKE // in Hamburg/ An. 1705 [large formal, printed except 705, altered from printed 16--]
N, Oslo
Private collection
1599
Karl Vestby, Oslo -1971
D, Hamburg
6
63
28.8
20.5
35.1
11
Hellwig 2011, pp. 356-57
Hellwig 2011, pp. 356-57
Hellwig 2011, p. 356 (front, body only [color])
Hellwig 2011, TieWV 148; not in Hellwig 1980. 2-piece table, 2-piece back, arched but only slightly, both with scratched “purfling”; no other instrument by Tielke has this feature; together with placement of soundholes very close to edge, suggests that body has been cut down. Neck, pegbox, scroll, and all fittings by Alban O. Schmidt, Wernitzgrün/Vogtland, 1971. Back widths 28.5/20.3/35.1. Repair labels: “Repareret af Joan Arneson Instrumentmage / fra Froens Praestegield i Guldbrandsdahlen i Norge / 1799” [handwritten]; “Repareret / AF / Ole Olsen / Musikinstrument Fabrik / & Handel / CHRISTIANIA / 1879 1879 [sic; printed except 1879 1879].
Yes
Tielke
Joachim
Bass
1719
IOACHIM TIELKE // in Hamburg, An. 1719 [small format, printed except 17 and 9, altered from printed 16-- by writing 9 over the 6]
D, Essen
Private collection
1600
[another private owner in Germany]
D, Hamburg
6
70.7
31.5
23.4
39.5
13
Female
Hellwig 2011, pp. 370-73
Hellwig 2011, pp. 370-73
Hellwig 2011, pp. 371-72 (underside of table, body open, head FB+S [color, during restoration])
Hellwig 2011, TieWV 165; not in Hellwig 1980. 2-piece table with purfling, 2-piece back, slightly arched, with carved ornament glued on along nearly full length of center joint but no purfling. Neck not original, pegbox with plain sides but open carved back. Repair label: “Repariert Heinrich Beneke / Auf den Dohm zu Ratzeburg / Im Jahr 1803” [handwritten], probably at time of cello conversion. Restored (including new varnish) by Reinhard Fischer, Hamburg, in 2005. Back widths 31.1/22.8/3.39.2; front with calipers 29.8/21.9/38.8.
Yes
Tielke
Joachim
Bass
1719 C
D, Bavaria
Private collection
1601
Richard Sturzenegger, Swiss cellist; sold via Paul Reichlin
D, Hamburg
6
70.8
32
23.4
39.9
11.8
Female
Hellwig 2011, pp. 373-75
Hellwig 2011, pp. 373-75
Hellwig 2011, pp. 374-75 (F+B body only, head 3/4, B+S [color])
Hellwig 2011, TieWV 167; not in Hellwig 1980. 2-piece table with purfling, more fully arched than usual for Tielke (perhaps therefore by J.H. Goldt); 2-piece back, arched and slightly bent, with carved ornaments glued on at top and bottom but no purfling; ribs with ivory edging at corners and purfling along both these and upper and lower edges. Pegbox with ivory edging, carved sides, and open carved back. Back widths 32.1/23.4/39.3. Dendrochronology (M. Beuting, 2007) gives dates of 1716 (treble) and 1718 (bass) for youngest growth rings on table. Restored 1985 by Paul Reichlin: new neck and all fittings; decoration of fingerboard and tailpiece based on TieWV 121. Back, ribs, pegbox, and head all clearly from Tielke shop, but table arching and C-holes are atypical, likely from after J.H. Goldt took over. Tone said to be wonderfully even, open, and strong.
Yes
Tielke
Joachim
Bass
1719 C
CDN, Victoria, BC
Private collection
1602
Jackie Robbins, Seattle, -2001
D, Hamburg
6
65.9
30.5
21.7
37.7
11.3
Hellwig 2011, p. 375
Hellwig 2011, p. 375
Hellwig 2011, p. 376 (back 3/4 [color])
Hellwig 2011, TieWV 168; not in Hellwig 1980. 1-piece table (?) with soundholes not in Tielke’s usual style (perhaps therefore by J.H. Goldt); 2-part back, arched, with carved ornaments glued on at top and bottom, each extending to level of body corners; top and bottom ribs overlap those of the middle bout. Neck, pegbox, and head not original. Back widths 30.9/22.1/38.7.
Yes
Gavinies
François
69
Bass
1722
Gaviniès, rue / S. Thomas du / Louvre, a Paris 1722 [printed except 22]
D, Bombach (near Freiburg)
Private collection
1603
[a woman in southern Germany, c. 1939-1998; purchased from her estate via her niece, Frau Vogelbach]
F, Paris
7
70.5
30
21
38
11
Head
Owner’s website and to TGM 1-3/13
On owner’s website
Owner’s website (head 7/8 from below, rosette, bridge [color]); [unpublished, from owner: front (color)]
Restored by Mathias Behrle, Freiburg: new neck, fingerboard and tailpiece, bridge, also half-edging. (When found, was set up with only 6 (metal) strings and a very short neck, but pegbox revealed originally for 7, and so documented when previous owner purchased in 1939.) Soundholes originally Cs, converted to Fs, then back to Cs; outline perhaps made smaller as well. Label seems original, and head not atypical for Gavinies, according to owner. (However, Gaviniès supposedly didn’t move from Bordeaux to Paris until 1734.)
Yes
Salomon
J. B. D.
Quinton ?
17..
F, Paris
Private collection
1480
F, Paris
5
Indian
Herzog 2003, QT-98
Herzog 2003, QT-98
Herzog 2003, QT-98 (FB+S)
Seen by Herzog, 8/06: “The instrument could be described as a ‘hybrid’ between quinton and pardessus, although its contruction is more violin-like than viol-like”--but corners are not pointed, edges not overhanging, and ribs appear deeper than most quintons, though back is arched. Attribution to Salomon apparently based on similarity of carved head to that on a bass viol by Salomon. 2 pegs treble, 3 bass side.
Yes
Tielke
Joachim
72.2
Bass
1680 C
F, Gretz
Private collection
1482
[private, Berlin, - c. 1968]
D, Hamburg
7
72.2
33.3
24.5
40.5
13.8
Lion
TGM visit 7/05
Hellwig 2011, p. 269
Hellwig 2011, p. 269 (underside of table); Muthesius 2006, p. 45 (front, body only)
Hellwig 2011, TieWV 022; not in Hellwig 1980, though owner reports attribution to Tielke confirmed by G. Hellwig subsequent to publication. TGM: 2-piece table with inked purfling and original bass bar in original position; 2-piece back (flat with fold; new wood for folded part) with no purfling. Had been converted into a cello when acquired; neck by Ingo Muthesius, lion head by Tilman Muthesius; fingerboard and tailpiece of tortoiseshell and ivory. Top block not original; cloth perimeter linings, no corner blocks. Hellwig 2011 gives no information (description, dimensions, etc.) except: especially interesting for bass bar in original form and position; attribution and dating based on soundhole shape and back.
Yes
Edlinger
Thomas
Bass
1672
Thomas Edlinger Lauten [und?] / Geigenmacher in Augspurg 1672 [handwritten]
CH, Burgdorf
Private collection
1483
[Estate of a private owner]
D, Augsburg
6
66
30
23
38
11
Female
Stephan Schürch to TGM, 4/07; ad in Mitteilungen der VdG-Gesellschaft (Nr. 65, 3/07)
[Unpublished, from Stephan Schürch 4/07: FB+S, head 3/4 and side, rosette (color)]
1-piece back, slab cut, with original fold now flattened out. Rosette in table, positioned rather low (bisected by line between upper body corners). Neck not original, but head and pegbox probably are; current fingerboard and tailpiece are dark brown, with the lower end of the fingerboard scalloped. Interior barring old but probably not original. Informant is sales agent for estate; no information about provenance; dimensions given only to nearest cm, and no string length because not original.
Yes
Bass
GB, Brighton
Brighton City Museum
WA 100583 (R.5773/1)
1484
Albert Spencer, -1960
D,
8
72.5
32.3
23.5
38.7
12.5
Disc
Museum to TGM, 6/07
[Unpublished, from museum 2/08: front 3/4, B+S, head (color)]
Late 18th century? Ivory inlay on tailpiece (leaves, bird, 2 scenes of plants and trees), ivory edging to table, “head finishes in ivory/ebony”. Body length includes button but not tailpin; rib height taken at center bouts. Worn varnish on back. “Probably originally had 7 or six strings.” Finial is a small disc with white center surrounded by a black and then a white ring. Black pegs with oval heads and small white pips. Tailgut. W. Monical to TGM 10/16: clearly Germanic, neck and grafted pearwood pegbox are modern; finial perhaps from a walking stick; tailpiece certainly old, but likely made originally for a cello.
No
68
Bass
GB, Brighton
Brighton City Museum
WA 100577 (R.5773/2)
1485
Albert Spencer, -1960
D,
6
69.3
32.3
24.9
39.9
12.9
Female
M. Fleming to TGM, 6/07; Museum to TGM, 6/07
[by/from M. Fleming, 6/07: F+B, head FB+S (color)]
Striped back (7 pieces) and ribs (narrow central dark stripe). Label of “Erasmus Schiefler / Instrumentenmacher / Hanover 1850” [printed except 50], but museum catalog card quotes opinion of Tim Miller that original date “probably c. 1740, belly a replacement, head probably French.” Museum dimensions 69.7, 32.3/24.0/39.7, 13.0, 66.0. M. Fleming: table (only) overhangs ribs; back and ribs look older, perhaps c. 1700. Female head integral with pegbox. Back of walnut and maple, no purfling; dark stripe on ribs also walnut. Fingerboard and tailpiece perhaps modern. W. Monical to TGM 10/16: back very German in outline (center and lower bout possibly inspired by Tielke School); table and neck modern, probably also head and pegbox.
No
Ouvrard
Jean
32
Pardessus
1742
[presumably: Ouvrard, luthier, place de l'Ecole, à Paris, 1742]
GB, Brighton
Brighton City Museum
WA 100576 (R.5773/6)
1486
Albert Spencer, -1960
F, Paris
5
34.4
17
13
20.5
4.5
Female
Museum to TGM, 6/07 + 1/10
[Unpublished, from museum 2/08: front 3/4, B+S, head (color)]
Back and ribs of a darker wood, perhaps walnut or even mahogany? Double purfling on both front and back, the latter in blond lines. 3 pegs treble, 2 bass side.
No
Treble
PL, Poznan
Muzeum Narodowe
MNP-I.492
1487
F, ?
38.5
24
6.2
A. Knast to TGM, 6/07
Kaminski 1992, p. 19
Kaminski 1992 dimensions 35.9, 17.0/-/20.6, 3.0 [sic?]
No
Bass
16..
[None]
D, Hamburg
Private collection
1492
GB,
6
67
29.4
22
37.7
12.9
Scroll
K. Martius to TGM, 6/07
[Unpublished, from K. Martius, 6/07: front, back body only (color)]
Table with rosette and ?single purfling; back with painted flowers at top, bottom, and 4 corners (in style of French soundboard painting, according to K. Martius).
Yes
Tielke
Joachim
68.8
Bass
1672
IOACHIM TIELKE // in Hamburg Anno 1672 [handwritten]
D, Wuppertal
Private collection
1493
Alfred Lessing, Düsseldorf, 1986-94; Peter Diederichs, Mönchengladbach, -1986; his uncle (?) in Hannover
D, Hamburg
6
69.3
30.6
22.1
37.1
12
Male
Hellwig 2011, pp. 261-62; owner to TGM, 8/07, also 2/11 (with prepublication copy of description by F. Hellwig)
Hellwig 2011, pp. 261-62
Hellwig 2011, p. 261 (front, body only [color]); [unpublished, from owner: front 3/4 and back, also F+B before restoration, body open after, orignal and repair labels, new head 3/4, etc. (color)]
Hellwig 2011, TieWV 009; not in Hellwig 1980. 2-piece table with double purfling, 2-piece back with none; ribs of bird’s-eye maple with cloth linings (no corner blocks). Restored by Reinhard Fischer (Hamburg) 1996-97 from cello conversion in 1820, removing wood added around perimeter (beyond original, retained purfling); also new neck and fingerboard (after BRUS 38 = H 001) plus pegbox and head (after HAMB 2 = H 010). Date 1672 reasonably certain on badly-preserved label (now glued to treble side of bottom block), and supported “durch die Bauart dieses Instruments”. Repair labels (all handwritten): “Renovatum / 1761 / A. E. Vertheim”; “Dieses Instrument ist mit großer / Mühe umgearbeitet und Größer / gemacht von J. H. Weykopf / Hannover [den] 21 Juny 1820”; “Reparirt von A. Wolfgang Musicus / Clausthal [den] 28ten April 1837” [all glued to top or bottom blocks]; and “In den Originalzustand zurückgebaut / Hamburg 1996-97 / Zettel: Joachim Tielke in Hamburg anno 1672.” Back widths 31.0/22.1/37.1 Owner’s dimensions 69, 31/22/37, 12.8, -.
Yes
Hoffmann
Ignaz (II)
Violone
1771
Ignatius Hoffman Lauten Geigen und Harpfen Macher in Wolffelsdorff anno 1771
PL, Czestochowa
Jasnogorska Fundacja “Pro Patria - Bastion sw. Rocha”
15
1494
D, Wolfe[l]sdorff
090.0?
58.5
40
70
A. Knast to TGM, 11/07
If date is correct, made by Ignaz II, as father died in 1769 (per Lütgendorff, citing burial documentation). Body length must be longer than 90, given these widths: more likely c. 120 (cf. SALZ 8 = Mayr, 1722).
No
Barbey
Guillaume
32
Pardessus
1744
Guillaume Barbey / à Paris 1745 [handwritten]
USA, Riverside, CA
Private collection
1495
Jean-Michel Renard (dealer), Bellnaves, France, c. 2007-09.
F, Paris
6
32.5
15.8
11
19.1
Female
J-M Renard to TGM, 7/07, 1/08, and 6/13, and his website (in 2007-08)
[Unpublished, from J-M Renard: F+B, head 3/4 (color)]
1-piece back with heavy (original?) varnish (and paint?) hiding the center joint. Small pegs with large white pips (original). Coolie head, carved pegbox. Tailpiece not original. 1-piece back. Restored by Judith Kraft. Body widths from Renard’s website, taken on the back; date originally given as 1745 but now changed.
Yes
36.3
Treble ?
CH, Winterthur
Private collection
1496
D,
5
36.4
16.6
12.1
23.2
H. Schiffler to TGM, 2+9/08; owner to TGM, 3+8/07
[Unpublished, from H. Schiffler 2/08: F+S (color); from owner 3+8/07: old pegbox, etc. (color)]
Had been converted to a viola: ribs cut down and shoulders reshaped. Bought on eBay, c. 2006; restored 2006-07 by Hagen Schiffler (new neck, head, fingerboard, tailpiece, pegs, bridge, etc.), who believes it was originally a South German viola d’amore.
Yes
Guersan ?
Louis
Quinton
1732 ?
Louis Guersan Paris 1732
1497
F, Paris
5
15.6
11
20.4
Scroll
Bloomsbury Auctions 5/7/08, lot 133
Bloomsbury Auctions 5/7/08, lot 133
Bloomsbury Auctions 5/7/08, lot 133 (F+B, head side [color])
Date may be wrong (more likely 1752), or label spurious; label text is non-standard (if accurately quoted); Bloomsbury calls it “French Quinton, ‘Vieux Paris’ with label ‘Louis Guersan Paris 1732’,” i.e. not verifying that he made it. 2 pegs treble, 3 bass side.
No
Bloomsburg Auctions, 2008/05/07, lot 133
Vaillan
François
32
Pardessus
1721 ?
François Vaillan / rue Debussy 1721 / a Paris [handwritten]
USA, Boston, MA
Museum of Fine Arts
17.1723 (formerly 279)
1498
F. W. Galpin, -1916
F, Paris
6? (now 10)
70.2
32
15.5
11
18.75
6.5
Finial
Museum’s website; museum to TGM, 5/08; Bessaraboff 1941, p. 283
Bessaraboff 1941, p. 283
On museum’s website (front [color]); Bessaraboff 1941, pl. XI (front)
Converted into a cither viol with 10 metal strings (top 4 courses double, iron; bottom 2 single, brass); given early date, originally probably 6. Tailgut (wire). Pegbox ends in a rectangle with two light-colored triangular inlays on left and right. (T. Bingham suggested pegbox possibly recycled from an English guitar; A. Dipper thinks it is early work from the Banks shop--thus 3Q18C?--made specifically for this instrument.) Restored by Donald Warnock in early 1960s, including new pegs, also tailpiece and hookbar replacing tailgut and button; further work by Lloyd Adams in 1964, including new bottom block and “top plate” (i.e., table; previous one kept separately). Museum accession record (presumably dating from 1917) describes it as “broken and much repaired,” contradicting Bessaraboff’s claim that “the instrument is in its original condition.” He transcribed maker’s surname as Vailleu; museum’s website now says Vaillan; Lütgendorff and Vannes give his address as Rue de la Juiverie and say he flourished 1736-83; Vannes calls this a viole d’amour and specifically says Bessaraboff must have misread its date.
No
Bass
[None]
GB, Cardiff
Private collection
1499
[his step-mother, in Spain]
GB, ?
7
Open scroll
P. Holman to TGM, 5/08
[Unpublished, from P. Holman 5/08: F+B, head front (color)]
Holman learned it was for sale (described as German, c. 1760), saw photos, wondered if it might be by Hintz; B. Hebbert thinks unprovable given diversity of his styles (for guitars as well as viols), but instrument is more likely English than German, though scroll and fingerboard not original (perhaps 1960s-70s, and thus likely neck also). Pencil signature of Rudolf J. Klein near soundpost, according to owner (probably a repairman).
Yes
Khögl
Hanns
46.4
Tenor
1676
Hannß Khögl Lauten vnd Geigen / macher in Wienn / Anno 1676 [printed]
A, Kremsmünster
Stift Kremsmünster
1502
A, Vienna
6
48.4
23.3