Bow & Bridge Violin and bow makers, as the old books printed them

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Scan 11

A dictionary of violin makers

21 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.

1A DICTIONARY
2OF
3VIOLIN MAKERS.
5A.
7Aachner, Philipp. A maker in Mittenwald in 1772. His instruments have brown varnish.
8Abbati, Giuseppe. Worked in Modena, 1775-93. His double-basses are well known in Italy.
9Absam, Thomas. Worked in Wakefield, Yorkshire, 1810-49. Made violins for a dealer called Pickard, in Leeds. Label: "Made by Thomas Absam, Wakefield, Feb. 14, 1833."
10Acevo. A maker little known, but Fétis has stated that he was born about 1630, in Saluzzo, was a pupil of Cappa, and made good instruments, principally bass-viols. Fétis had seen a bass-viol dated 1693, which belonged to Marin Marais, whose signature was on the back. There is no other evidence in favour of the supposed existence of Acevo.
11Adam, Jean Dominique, b. Feb. 26, 1823, Mirecourt; d. Jan. 19, 1869. Was the son, pupil, and successor of Jean Adam, a maker of bows. He made many bows for the trade, but marked with his name those that he sold himself. His work is much superior to that of his father.
12Adams, C. A maker at Garmouth, Scotland, in 1800.
13Adani, Panerazio. A maker of cithers in Modena, 1827.
14Addison, William. A maker of viols in London. Label: "William Addison, in Long Alley, over against Moorfields, 1670."
15Aglio, Giuseppe dall'. Worked in Mantua, 1800-40. His instruments are similar to those of Camilli and are varnished a bright yellow colour.
16Aireton (Airton), Edmund, b. about 1727; d. 1807. A maker in London. It is possible that a workman of the same name, employed by P. Wamsley in 1735, was his father. Followed the Amati model; his violins and violoncellos show finished workmanship, have a good tone, and are varnished yellow. Some instruments, of inferior make, follow the Stradivari model.
17Albanesi, Sebastiano. Worked in Cremona, 1720-44. Pupil of Carlo Bergonzi. His instruments are not much arched and both in varnish and make are similar to those made in Milan; the tone is powerful.
18Albani, Mathias, b. about 1621, Botzen (Tyrol); d. there 1673. His instruments are excellent, very similar to those made by Stainer, of whom he was possibly a pupil. They are much arched, with high sides, the sound-holes too widely opened, with dry brittle varnish, a reddish-brown colour, the wood is carefully selected. A violoncello, of sweet but not powerful tone, had the label in large characters: "Mathias Albano, fecit in Tiroli, 1651." A beautiful violin, with full, powerful tone, had the label in small characters: "Mathias Albano, in Tiroli, Bulsani, 1643." Two other labels are: "Mathias Albani, fecit Bulsani, Tyrol, 1651," and "Matthias Albanus, fecit in Tyrol, Bulsani, 1654."
19Albani, Mathias, son and pupil of Mathias Albani; b. 1650, Botzen; d. about 1715. Settled in Rome, probably remained in Cremona studying under the Amatis for some time, on his way there. His instruments follow the Amati pattern, and show beautiful varnish and finished workmanship. Three violins known are dated respectively 1702, 1709, 1712. In a pochette was the label, "Mathias Albanus, 1680." In Rome the label used was, "Mattia Albano, fece in Roma, 16 – ."
20Albani, Paolo. Worked in Palermo

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