Books › A dictionary of violin makers, 1896 › scan 27
Scan 27
A dictionary of violin makers, 1896
23 lines. Read by computer on 27 September 2026. Printed page 19. See the scan on archive.org.
1luthier, Paris, l'an 1870"; from 1876 onward—"Longueur: 9 cent. hauteur 3½, Ch. J. B. Collin-Mézin fils, luthier à Paris, rue du Faubg. Poissonnière 10."
2Collingwood, Joseph. Worked in London about 1760, at the "Golden Spectacles" on London Bridge.
3Comble. See "De Comble."
4Commé (or Coincu). A guitar known made by this maker at Blois.
5Contreras, Joseph, b. about 1710, Granada; d. about 1780. Known as "Granadino" owing to his birthplace. He worked in Madrid from about 1745, making such fine copies of Stradivari's instruments that they were often mistaken for the originals. A beautiful violin exhibited in Paris, 1878, was slightly arched, the sound-holes well cut, the varnish a yellow-red colour, very brilliant, the scroll rather heavy, the work beautifully finished. In it was the label: "Matriti per Granadensem Josephum Contreras, anno 1760."
6Contreras, son of Joseph Contreras. Label: "Matriti per filium Granadensis Joseph de Contreras, anno 1793, No. 16."
7Conway, William. A maker in London about 1745-50.
8Cordano, Jacopo Filippo. Worked in Genoa about 1774. Label: "Jacobus Philippus Cordanus, fecit Genuae, anno sal. 1774."
9Corna. See "Della Corna."
10Cornelli, Carlo. A maker in Cremona, 1702. Label: "Carolus Cornelli, fecit Cremonae, anno 1702."
11Correa, Manoel, of Almeida, in the province of Beira, Portugal. Entitled "Maker to the Queen." In a guitar made about 1600 is the inscription "Manoel Correa de Almda Uileiro da Rainha, N.S. Morador na Ruadireita la Esperança LXa."
12Corsbv, George, believed to be a brother of Corsby of Northampton. A maker in London, in Princes Street, Leicester Square, who also dealt in old instruments.
13Corsby. A maker in Northampton about 1780, who chiefly made double-basses. See "Corsby, George."
14Costa, Agostino, of Brescia. A maker in Venice in the 17th century.
15Costa, Marco dalla. A maker in Treviso about 1660-80.
16Costa, Pietro Antonio dalla. Worked in Treviso about 1740-65. He made some fairly good violins, following the patterns of Ant. and Gir. Amati; he used yellow varnish of good quality. Labels: "Pietro Antonio dalla Costa, fece in Treviso, anno 174—"; "Petrus Antonius a Costa, fecit ad similitudinem illorum quod fecerunt Antonius and Hieronymus fratres Amati Cremonenses, filii Andreae Tarvisii, anno 1757"; "Petrus Antonius a Costa, fecit Tarvisii, anno 1760"; "Petrus Antonius a Costa, fecit Tarvisii, anno 1764."
17Cotton, Robert. The label, "Robert Cotton à Rouen," was found in a tenor viol or viola bastarda, which had six strings, rather deep sides, the head carved, the varnish red colour.
18Cousineau, Georges (? Pierre Joseph), b. about 1753, in Paris; d. 1824. In 1788 was entitled "Luthier de la reine." He chiefly made harps and guitars, but an alto is known branded with his name, and a double-bass with three strings, which is in the Paris Conservatoire Collection, was labelled "rue des Poulies, vis-à-vis la colonade du Louvre, 'à la Victoire.' Cousineau luthier, fait et vend harpes, lyres, violons, violoncellos, contrebasses, par-dessus de viole, alto-viola, guitares, violes d'amour, mandolines, sistres et autres instruments de musique. Il vend aussi des cordes de Naples et tient magasin de musique française et italienne. Son épouse grave la musique."
19Cramond, Charles. A maker in Aberdeen about 1821-34.
20Crask, George. Worked in various places, Salford, Manchester, &c.; he made a number of instruments, generally Italian in character.
21Cristofori (Christofori), Bartolommeo, b. probably May 4, 1655, in Padua; d. Jan. 27, 1731. He settled in Florence in 1710. Was a maker of clavecins, but in the collection of musical instruments at Florence is a double-bass, quite possibly the only one he ever made, of which the workmanship leaves much to be desired; it is inscribed "Bartolommeo Cristofori, Firenze, 1715."
22Cross, Nathaniel. A maker in London about 1700-51. About 1720 he entered into partnership with Barak Norman. His instruments resemble those of Stainer, of whom it is supposed that he was a pupil. He made good violins, beautifully finished in all details, the fluting round the edge, where the purflé is inlaid, is very acute, and the scrolls are excellently cut. Violoncellos of his are known very similar to those made during his partnership with Norman; they are rather small in size,
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