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Scan 55
A dictionary of violin makers, 1896
28 lines. Read by computer on 3 September 2026. Printed page 47. See the scan on archive.org.
1to Paris, living in the rue Fléchier till his death. He made a great many instruments, but never signed them. His son, Octave, was also a maker.
3Henry, Octave, son of Jean Baptiste Félix Henry; b. 1826. Worked first with his uncle Charles and then with Maucotel at Paris. He settled in Grenoble in 1854, and made a great many violins.
5Henry. A violin bow maker, b. 1812 at Mirecourt; d. 1870 at Paris. He left Mirecourt for Paris in 1837, and first worked with Chanot, then with Peccate. Was partner of Simon, 1848-51, then worked alone, first at 8, rue des Vieux-Augustins, later in the rue Pagevin. His bows are excellent, he marked them "Henry, Paris." He was no relation to the Henrys of rue Saint-Martin.
7Hetel, G. Maker of lutes and cithers in Rome in 1763. Label: "G. Hetel fecit Romae, anno 1763."
9Heubsch, J. G. G. He published a work on the making of musical instruments about 1764.
11Hieben, Giovanni. A maker of lutes in Venice in 1581. In an arch-lute was the label "Giovanni Hieben e Martine, faciebat in Venezia, Ao. 1581."
13Hieronymus, Geraldi. A maker of lutes and cithers in Brescia about 1574. In a cither, remarkably well made, is still legible " . . . onimus Bresciensis." In a cither in the Hof.-Museum at Vienna, beautifully worked and decorated, is the name "Hieronymus Brixensis" and the date 1574.
15Higgins, P. H. A maker in Montreal, who exhibited some of his instruments in 1851.
17Hildebrandt, Michael Christopher. A maker in Hamburg about 1765-1800. Good violins, violas, violoncellos, and double-basses of his are known; he was also extremely skilful in repairing old instruments.
19Hill, Henry Lockey, son of Lockey Hill; grandson of Joseph Hill; b. 1774; d. Aug., 1835. Worked for some time with John Betts, was probably still with him when he took patterns (still preserved by the firm) of a Stradivari violoncello, sent by Friedrich Wilhelm III. of Prussia to John Betts in 1810, to be sold in England. He was an excellent workman, and some violins, violas, and violoncellos of his are exceptionally good instruments. Of his four sons, Henry (d. 1856) was a fine viola player, Joseph (d. 1837) and William Ebsworth were both makers.
21Hill, John. A maker who apparently worked in Red Lion Street, Holborn, was there, at any rate, in 1794.
23Hill, Joseph, b. 1715; d. 1784. He was a fellow-apprentice of Banks, working at "Ye Harp and Hautboy," in Piccadilly, London, under Peter Wamsley, about 1740-42. Then worked in High Holborn (1753), then at the sign of "Ye Violin," in Angel Court, Westminster (1756), and lastly at the sign of the "Harp and Flute" in the Haymarket (1762). Later on, his sons became partners in the business. His instruments are of great merit; his violoncellos and double-basses are especially liked, some have a fine oil varnish. Label: "Joseph Hill, maker at the 'Harp and Flute' in the Haymarket, 17 London, 69"; similar labels are dated 1772. His sons, William, Joseph, Lockey, and Benjamin, were all makers.
25Hill, William, son of Joseph Hill. Worked in London about 1740-80. He made some good instruments, rather similar to those of Edmund Aireton; the varnish was a beautiful yellow colour, rather transparent; the tone though good was not powerful. Label: "William Hill, maker in Poland Street, near Broad Street, 1741," and "William Hill, maker in Poland Street, near Broad Street, Carnaby Market, 177—."
27Hill, William Ebsworth, son of Henry Lockey Hill; b. Oct. 20, 1817; d. April 2, 1895. A maker in London. Learnt from his elder brother, Joseph. Began by making violin-bridges, always beautifully shaped and designed; quite 200 are still preserved by the firm. He worked for a year with Charles Harris, at Oxford, returning to London, 1838. First worked in Southwark, then in Wardour Street, and finally removed to 38, New Bond Street. When he began to repair and deal in old instruments he did everything with his own hands, and had no assistants until his sons grew up. He exhibited some very beautiful violins of carefully finished work and an excellent viola of large pattern, with full round tone, in London, in 1862, obtaining special commendation and a prize medal. Probably few, if any, of W. E. Hill's contemporaries had such a wide and thorough knowledge of the art and craft of violin making as he himself. Those who had the pleasure of knowing him personally found his conversation
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