Hubbard, History of American Music (1908) — the Enstone passage (p. 258), the Gemunder brothers (pp. 332–33) and the Hendershot notice (p. 334)

Everyone this source names

This document prints 8 names. A name found this way is the weakest thing this site records: the book names the person, and nothing more is said. It is not a line in a record — the lines that actually rest on this source are listed above, each with its own confidence. 2 of the names below reach a record on this site; lines from this source have been written for 1. The rest are names and nothing else — which is an honest description of the evidence, and an invitation: if you know one of these makers, we want to hear from you.

1. Edward Enstone p. 258 mention only — no record here yet

   Boston, 1714, organist of King’s Chapel and “Master of Music and Dancing”; the Boston News Letter of April 16–23, 1716 is quoted: “This is to give notice that there is lately sent over from London, a choice collection of musical instruments, consisting of flageolets, flutes, haut-boys, bass-viols, violins, bows, strings, reeds for haut-boys, books of instruction for all these instruments; books of ruled paper; to be sold at the Dancing School of Mr. Enstone in Sudbury Street, near the Orange Tree, Boston. Note: Any person may have all instruments of music mended, or virginals and spinets strung and tuned at a reasonable rate…”

2. Benjamin Crehore p. 317 mention only — no record here yet

   “It is quite possible that the first practical piano constructed in this country was made some time prior to 1803 by Benjamin Crehore, who lived in Milton, near Boston. Crehore made other musical instruments as well, such as violins, cellos, guitars, drums and flutes … Morris Steinert speaks of Crehore’s little shop as the training school of such men as John Osborne and the brothers Lewis and Alpheus Babcock, who served their apprenticeship there.”

3. William Bent p. 318 mention only — no record here yet

   “The Bents, William and Adam, also were prominent musical instrument makers in Boston in the early years of the Nineteenth Century. A press notice of 1800 speaks of William Bent as an ‘expert mechanic’ whose new grand piano attracted much attention.” The volume does not say what instruments other than the piano he made.

4. Adam Bent p. 318 mention only — no record here yet

   “The Bents, William and Adam, also were prominent musical instrument makers in Boston in the early years of the Nineteenth Century.” The volume says nothing further of Adam Bent, and does not say what instruments he made.

5. August Gemunder p. 332 mention only — no record here yet

   “The most important name connected with American violin making is that of Gemunder. They were two brothers, August and George, born in Ingelfingen, Württemberg, Germany, the former in 1814 and the latter in 1816. August came to the United States in 1846. He resided in Springfield, Massachusetts, for several years, removing to New York in 1865, where he became permanently established. It had been August Gemunder’s specialty to copy violins of the famous Italian makers, but two years before he came to America a German musician suggested his making a violin according to his own ideas. The result was so admirable that he afterward used the instrument for a model. Many of the celebrated violinists have used Gemunder’s violins, which resemble the old Italian models in tone and surpass them in power.”

6. George Gemunder pp. 332–33 claim written

   “The younger brother, George, was a pupil of Baptiste Vuillaume of Paris. He came to the United States a year later than did his brother, it is said upon the advice of Ole Bull. He first located in Boston, the violins made during his residence there obtaining medals at the World’s Fair in London in 1851. In 1852 he went on to New York. George Gemunder was especially successful in the model, finish and varnishing of his instruments. One of his most valuable discoveries was how to acquire results by means of natural woods … For Gemunder’s violins often are mistaken for Cremonas. A violin called the ‘Kaiser’ was sent to the Vienna Exposition and the judges pronounced it an old Italian violin.”

7. Knute Reindahl p. 333 record, no claim from this source yet

   “Knute Reindahl of Chicago is a successful maker of artistic violins, violas and violoncellos. He constructs his instruments from very old wood obtained from the ancient cities of Norway which he believes to be the only place in the world where woods of the requisite age and proper seasoning can be obtained. Among the violinists who endorse Reindahl’s violins are Franz von Vecsey, Hugo Heermann, Sauret, Arthur Hartmann, Rosenbecker, Kubelik, Kreisler, and others.”

8. J. C. Hendershot p. 334 mention only — no record here yet

   “Another fine maker of violins was J. C. Hendershot of Cleveland, Ohio. His instruments have been used by some of the best of the profession, among them Remenyi. The Hendershot collection of violins is very notable.”