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

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Scan 53

A dictionary of violin makers, 1896

21 lines. Read by computer on 3 September 2026. Printed page 45. See the scan on archive.org.

1the Hardanger peasants in Norway, see "Eriksen" and "Heldal."
2Hardie, 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.
3Hardie, 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.
4Hardie, Peter. A maker in Dunkeld, b. 1773; d. 1863. He turned out excellent instruments, and his violoncellos have an especially fine tone.
5Hare, 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."
6Harham. Working in London, 1765-85.
7Harmand. A maker in Mirecourt in 1772.
8Harris, 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.
9Harris, Charles, eldest son of Charles Harris. Was a fellow apprentice of Samuel Gilkes under his father, and also worked for John Hart for a little time. His work was well finished, he used yellow varnish.
10Hart, John Thomas, b. Dec. 17, 1805, London; d. Jan. 1, 1874. In May, 1820, he became a pupil of Samuel Gilkes. He made few new instruments, but had a great reputation for his experience and skill in repairing old Italian instruments. Label: "John Hart, maker, 14, Princess Street, Leicester Square, London, anno 18—."
11Hartung, Michael. A maker in Padua, 1602. A lute of his of that date is in the Collection of the Germanic Society, Nuremberg.
12Hassert. A maker in Eisenach in the 18th century. He made very good instruments, not much arched, used beautiful wood, and an amber-coloured varnish; his imitations of Italian instruments were excellent.
13Hassert. A brother of Hassert, of Eisenach. Worked about 1790 in Rudolstadt. His instruments were not so good as those of his brother; they are much arched, of excellent wood, and finished with great care, but the tone is rather harsh.
14Haudek, Carl. See "Lemböck."
15Haynes, Jacob. Was working in London in 1746. He followed the Stainer pattern.
16Heberlein, Heinrich, jun. A very clever maker in Markneukirchen, Saxony, at the present time.
17Heesom, Edward. Was working in London about 1748-50. He followed the Stainer pattern. Label: "Edward Heesom, Londini, fecit 1749."
18Heidegger. A maker in Passau.
19Heinle, J. A maker in Paris. Only one violin, dated 1761, of his is known.
20Hel, Pierre Joseph, b. Feb. 8, 1842, at Mazirot, near Mirecourt (Vosges). Was apprenticed for seven years in Mirecourt, was then for two years with Sébastien Vuillaume in Paris, and for a year (1864-5) with Nicolas Darche at Aix-la-Chapelle. In 1865 he started his own business at 14, rue Nationale, Lille. He is an excellent workman and makes all his instruments himself; the pattern is very beautiful; the tone is good; he uses oil varnish; all the details are carefully finished. He also shows great skill in repairing old Italian instruments. He has a special method of seasoning the wood he uses, removing, without the use of fire or acids, every element that interferes with the tone. In 1886 he invented an ingenious method of fixing the pegs, which enables the strings to be gradually tightened, and prevents their suddenly running down; the shape of the head remains the same. Was awarded: Gold medal, Lille, 1882; diploma of honour, St. Omer, 1884;

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