William Turner at ye hand & Crowne in Gravele Lane neere Aldgat London 1652 [handwritten]
Musée du Palais Lascaris
No. of Strings:
C.36 (Fonds Gautier 1750)
Antoine Gautier, Nice, c. 1879-1904
R. Adelson to TGM, 12/08; TGM visit 5/00; Thevenon 1998, pp. 66-67
Adelson 2017, p. 31; Bran-Ricci 2006, pp. 161-62; Fleming 2001: VME 28; La Grandville 2000, pp. 4-5; Thevenon 1998, pp. 66-67; Fruchtman 1962, p. 3; Vannes 1999, p. 369; Lütgendorff 1922, 2:526; Vidal 1889, p. 190.
On museum’s website (F [color]); Bran-Ricci 2006, p. 162 (head side); Fleming 2001: VME F28 (front, body only [color]); La Grandville 2000, p. 4 (front [color]); Thevenon 1998, p. 66 (front, head [color]); [by TGM: FB+S, head FB+S (color)]
5-piece table with 2 lower wings and thick black single purfling (around soundholes as well as perimeter). 2-piece back with 2 small wings in lower bout, separate outlines of single purfling above and below fold. Neck perhaps original, though formerly inset into table. Pegbox has small open heart at top; sides and back have incised perimeter lines, front edges have long-short incised pattern; 7th hole plugged at top, small and very close to III. Bridge currently placed below middle of C-holes. Restored in 1978 by Pierre Abondance (new fingerboard, tailpiece, and bridge); once had 12 sympathetic strings, but these had been removed by then. (Fruchtman 1962 erroneously listed this instrument as a baryton, based on mention by Lütgendorff as a viola di bardone, no doubt due in turn to these sympathetic strings; per R. Adelson, an 1878 list by A. Gaultier of his collection called it a “viol baryton”.) Catalogue gives date as 1650 (as did Lütgendorff), and dimensions (taken on the back): 71.1, 32.0/23.0/38.0, 12.0, 60.0. Bran-Ricci 2006: label incomplete, date 1650 (both wrong); unfortunate that no evidence or documentation remains of setup with sympathetic strings.