Bow & Bridge

Dearlove, Mark William

As printed

  1. Violin tone and violin makers (1916)

    DEARLOVE, MARK WILLIAM.—Leeds; nineteenth century. The violoncellos and double-basses show good work and are in favour amongst orchestral players. He was for some time in partnership with John Fryer.

    scan page 180, line 9See the scan

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    scan page 180, line 9

    2. DAVIS, WILLIAM.—London; to 1846. Was a dealer and repairer in a large way in Coventry Street.
    4. DEARLOVE, MARK WILLIAM.—Leeds; nineteenth century. The violoncellos and double-basses show good work and are in favour amongst orchestral players. He was for some time in partnership with John Fryer.
    6. DE COMBLE, AMBROISE.—Tournay; about 1735 and later. Reputed to have worked with Antonio Stradivari, which is unlikely. Work not usually highly finished. Varnish red, of fine quality. Well-cut scrolls. Labels are written. There seem to be more violoncellos than violins of his make in this country.

  2. Old violins (1905)

    Dearlove, Mark William, son of Mark Dearlove. Leeds, 1828-62; employed good workmen—Absam, Gough, Fryer.

    scan page 270, line 28See the scan

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    scan page 270, line 28

    1. Davis, William. London (in 1846 sold business to Edward Withers); restored violins; Maucotel worked for him.
    2. Day, John. Ingenious amateur maker, devoted to reproduction of Cremonas, nineteenth century.
    3. Dearlove, Mark. Leeds, 1812-20.
    4. Dearlove, Mark William, son of Mark Dearlove. Leeds, 1828-62; employed good workmen—Absam, Gough, Fryer.
    5. Decombe (not De Comble). Paris, eighteenth century.
    6. De Comble, Ambroise, b. at Tournai, Belgium, end of the seventeenth century; worked till 1760; said to have been a pupil of Antonio Stradivari at Cremona; instruments scarce, well made, of excellent wood, and have a rich tone.
    7. Deconet, Michele. Venice about 1742-79; Cremona school.

  3. Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart (1904)

    Dearlove, Mark William. — Leeds. Geb. um 1800, † nach 1864.

    scan page 149, line 17See the scan

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    scan page 149, line 17

    1. Dearlove, Mark. — Leeds. 1812. 1820.
    2. Wenig hervorragender Geigenmacher. Die besten Arbeiten von ihm werden höchstens mit 150 M. bezahlt.
    4. Dearlove, Mark William. — Leeds. Geb. um 1800, † nach 1864.
    5. Sohn und Schüler von Mark D. Er verstand es, das väterliche Geschäft in die Höhe zu bringen, und beschäftigte viele, später angesehene Geigenmacher, so Absam, Gough und auch John Fryer, mit dem er sich um 1828 verband. — Seine Violoncelli sind recht gut.
    7. De Blosy, Nikolaus. — Neapel. 1793.

Named in 3 books printed between 1904 and 1916. Read by software from scans of those pages, not yet checked by a person against the page. Entries from 3 books stand under this name, and the software judged them likely the same person. Tell us if that is wrong and we will split the record.

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Details and sources

Record note

This record exists because one or more sources name this maker. Printed in: Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart (1904); Old violins (1905); Violin tone and violin makers (1916). Nothing else on this site confirms this record beyond what those sources state — no claim is invented here. Entries from 3 books stand under this name, and the software judged them likely the same person. Tell us if that is wrong and we will split the record. Not established is the honest state of this record; if you can change that, we want to hear from you.

What the books say

Places and dates of work
Dearlove, Mark William. — Leeds. Geb. um 1800, † nach 1864. reported1
Places and dates of work
Dearlove, Mark William, son of Mark Dearlove. Leeds, 1828-62; employed good workmen—Absam, Gough, Fryer. reported1
Places and dates of work
DEARLOVE, MARK WILLIAM.—Leeds; nineteenth century. The violoncellos and double-basses show good work and are in favour amongst orchestral players. He was for some time in partnership with John Fryer. reported1

How the pages were read

3 of the 3 lines here were read from machine text (software that turns a photo of a page into words), not by a person looking at the page image. 2 of them rest on a section heading above a list of names, not on a trade word printed on their own line: “DICTIONARY OF VIOLIN MAKERS”, “THE OLD MASTERS AS VIOLIN MAKERS”.

Notes

  1. Read from machine text (software that turns a photo of a page into words, or a typed transcription), not by a person looking at the page image. ↩

The books behind this record

This record draws on 3 sources, all read from machine text. The count weighs how well each source was read, not just how many are cited. A stack of half-read sources does not outweigh one page read properly.

  1. Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart (1904). archive.org, bub_gb_cWCqAAAAIAAJ. https://archive.org/details/bub_gb_cWCqAAAAIAAJ.machine textcited for 1 linesource record

    scan page 149, line 17

  2. Haweis, H. R. (Hugh Reginald), 1839-1901, Old violins (Edinburgh, Grant, 1905). archive.org, oldviolins00hawe. https://archive.org/details/oldviolins00hawe.machine textcited for 1 linesource record

    scan page 270, line 28

  3. Violin tone and violin makers (London: Chatto & Windus, 1916). archive.org, violintoneviolin00moyaiala. https://archive.org/details/violintoneviolin00moyaiala.machine textcited for 1 linesource record

    scan page 180, line 9