Bow & Bridge

Hare, Joseph (or John)

As printed

  1. A dictionary of violin makers (1896)

    Hare, Joseph (or John). A maker in London about 1700-30. He made the innovation of following the pattern of Stradivari, instead of that of Stainer …

    scan page 53, line 5See the scan

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    scan page 53, line 5

    1. Hardie, James, & Sons. Makers at 117, Nicolson Street, Edinburgh. James Hardie, b. Aguadley, Ellon, about 1837; grandson and pupil of Peter Hardie. Started his own business in Edinburgh, where he is assisted by his four sons. They have made between two and three thousand instruments, on the Maggini, Stradivari, and Guarneri patterns, using oil varnish, reddish-yellow colour, of good quality. Exhibited in Edinburgh, 1887 and 1890; received bronze medal, 1887, and gold medal, 1890.
    2. Hardie, Matthew, d. about 1825, and his son Thomas, b. 1804; d. Jan. 19, 1856. They worked together in Edinburgh and made good violins, violas, and violoncellos on the Amati pattern; his instruments have a fine tone, and the work is neatly finished.
    3. Hardie, Peter. A maker in Dunkeld, b. 1773; d. 1863. He turned out excellent instruments, and his violoncellos have an especially fine tone.
    4. Hare, Joseph (or John). A maker in London about 1700-30. He made the innovation of following the pattern of Stradivari, instead of that of Stainer as his contemporaries did; he also used a rich red varnish, of very good quality, more transparent than that generally used by English makers. Is said to have been in partnership with Freeman. Label: "Joseph Hare at ye viol and flute near the Royal Exchange in Cornhill, London, 1726."
    5. Harham. Working in London, 1765-85.
    6. Harmand. A maker in Mirecourt in 1772.
    7. Harris, Charles. A maker in London, 1780-1800; lived in Cannon Street Road, Ratcliffe Highway. He was a Custom House officer. He was one of the best English makers of his time, and was noted for his violoncellos and the excellent varnish that he used, of a particular reddish tinge. He copied the Stradivari and Amati patterns, but seldom labelled his instruments with his name. Samuel Gilkes worked for him for some time.

  2. A dictionary of violin makers (n.d.)

    Hare, Joseph (or John). A maker in London about 1700-30. He made the innovation of following the pattern of Stradivari, instead of that of Stainer …

    scan page 55, line 9See the scans: 55, 55source record

    Read the transcript line

    This is what the software read off the scan, not the page itself. The cited line is marked, and three lines either side are shown for context.

    scan page 55, line 9

    2. Hardie, Peter. A maker in Dunkeld, b. 1773; d. 1863. He turned out excellent instruments, and his violoncellos have an especially fine tone.
    4. Hare, Joseph (or John). A maker in London about 1700-30. He made the innovation of following the pattern of Stradivari, instead of that of Stainer as his contemporaries did; he also used a rich red varnish, of very good quality, more transparent than that generally used by English makers. Is said to have been in partnership with Freeman. Label: "Joseph Hare at ye viol and flute near the Royal Exchange in Cornhill, London, 1726."
    6. Harham. Working in London, 1765-85.

Named in 2 books, all printed 1896. Read by software from scans of those pages, not yet checked by a person against the page. Entries from 2 books stand under this name, and the software judged them near-certain the same person. Tell us if that is wrong and we will split the record.

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Details and sources

Record note

Not established: that is this record’s honest state, resting on one thing alone — A dictionary of violin makers (1890); A dictionary of violin makers (1890); A dictionary of violin makers (1896), naming this maker and nothing more. Entries from 2 books stand under this name, and the software judged them near-certain the same person. Tell us if that is wrong and we will split the record. No claim beyond what is printed there has been invented here. If more can be said, write in and tell us.

What the books say

Places and dates of work
Hare, Joseph (or John). A maker in London about 1700-30. He made the innovation of following the pattern of Stradivari, instead of that of Stainer … reported1
Places and dates of work
Hare, Joseph (or John). A maker in London about 1700-30. He made the innovation of following the pattern of Stradivari, instead of that of Stainer … reported1
Places and dates of work
Hare, Joseph (or John). A maker in London about 1700-30. He made the innovation of following the pattern of Stradivari, instead of that of Stainer … 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. 1 of them rests on a section heading above a list of names, not on a trade word printed on its own line: “A DICTIONARY OF 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 2 sources. Each is listed below with how it was read, because a claim read from a photo of the page is stronger than one read from machine text.

  1. Stainer, C. (Cecie), 1867-1937, A dictionary of violin makers (London: Novello, n.d.). archive.org, dictionaryofviol00stai. https://archive.org/details/dictionaryofviol00stai.machine textcited for 1 linesource record

    scan page 55, line 9

  2. Stainer, C. (Cecie), 1867-1937, A dictionary of violin makers (London: Novello, n.d.). archive.org, dictionaryofviol1899stai. https://archive.org/details/dictionaryofviol1899stai.machine textcited for 1 linesource record

    scan page 55, line 9

  3. Stainer, C. (Cecie), 1867-1937, A dictionary of violin makers (London ; New York: Novello, Ewer, 1896). archive.org, dictionaryofviol00stai_0. https://archive.org/details/dictionaryofviol00stai_0.machine textcited for 1 linesource record

    scan page 53, line 5