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Scan 40
A dictionary of violin makers
14 lines. Read by computer on 3 September 2026. Printed page 30. See the scan on archive.org.
1Fontanelli, Giovanni Giuseppe. A celebrated maker of mandolines and lutes in Bologna about 1733-72. In a magnificent lute, purfled in ivory, the neck inlaid in tortoiseshell, mother-of-pearl, and ivory, in every way a superbly made instrument, was the label: "Giov. Giuseppe Fontanelli, fece in Bologna, l'anno [address hidden]." Two mandolines, dated 1771 and 1772, are in the Paris Conservatoire Collection. Another label is: "Giovanni Giuseppe Fontanelli, Bolognese, f. an. 17—."
3Forcheville, J. Baptiste. Was working at St. Omer (France) in 1673, according to the following label found in a pochette or little violin, made with a pentagonal back: "Fait à St. Omer, par J. Bte. Forcheville, 1673."
5Forster (Foster or Forrester), John, b. about 1688, at Kirkandrews, on the Esk; d. Oct., 1781, Brampton, Cumberland. He was the first member of the celebrated family of Forsters to make violins. He early settled in Brampton, and was a maker of spinning-wheels, also a gunmaker; "a very ingenious man, and occasionally made fiddles." A violin, said to be his, is made on a very high model, resembling that of Stainer, although the outline was somewhat similar to the pattern of an Amati, but the work was rude and unfinished.
7Forster, Simon Andrew, son of William Forster (1764-1824), b. May 13, 1801, London; d. Feb. 2, 1870. He carried on the business first at [address hidden], then at [address hidden], Soho. He learnt his trade under his father, Samuel Gilkes (a workman in his father's employ), and his brother William. 1828-40, he made several instruments, very much arched, of no great merit, using the label: "S. A. Foster, violin, tenor, and violoncello maker, No. ——, London." He used spirit varnish for his second-class instruments, and only inscribed them "Foster, No. ——," at the tailpin. His name is well known as joint-author, with William Sandys, of "The History of the Violin," published in London, 1864.
9Forster, William, son of John Forster, b. 1713-14; d. March 4, 1801. He was a maker of spinning-wheels in Brampton, Cumberland, merely occupying his spare time in making and repairing instruments; but his work shows a considerable improvement on that of his father. He used spirit varnish, and did not purfle his instruments; the work altogether is not highly finished, but the tone is fairly good.
11Forster, William ("old Forster"), son of William Forster (1713-1801), b. May, 1739, at Brampton, Cumberland; d. Dec., 14, 1808. Having worked for some time under his father, he went to London about 1759. Was first a gunstock maker, only occasionally making violins and selling them to the dealers. About 1785 he started his business at 348, Strand. In 1762 he was making on the Stainer pattern, using brown varnish. These instruments are not equal to the later ones made on the Amati pattern. This he followed from 1772 till the end of his life, copying sometimes from Ant. and Gir. Amati, sometimes from Nicola Amati. His violins and altos, though of fair workmanship, have not such a fine tone as his violoncellos. The latter were much liked in England, especially the "amber-coloured" ones (the dark red-coloured ones were really equally good). For a time they were neglected owing to the large number of Italian violoncellos sent to England, but they still sell at high prices. He only made four double-basses, three of which were for the private band of George III. Labels: "William Forster, violin maker in St. Martin's Lane, London, 1762"; another, "William Forster, violin, violoncello, tenor, and bow maker. N.B. The above instruments are made in the best manner and finished with the original varnish; and a copy of every Capital instrument in England may be had."
13Forster, William ("young Forster"), son of William Forster (1739-1808), b. Jan. 7, 1764, London; d. July 24, 1824. His instruments are good but not equal to those of his father; the varnish is of good quality; some instruments have a fine tone; the work is well and neatly finished. A few double-basses, made chiefly for letting out on hire, were the same shape as a violoncello, and of inferior workmanship. Labels: "William Forster, jun, violin, violoncello, tenor, and bow-maker, 1810; also Music Seller to their Royal Highnesses the Prince of Wales and the Duke of Cumberland, 'No. 43'"; and "William Forster, violin, violoncello, tenor, and bow-maker to their Royal Highnesses the Prince of Wales and Duke of Cumberland, London." To this latter
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