Books › A dictionary of violin makers, 1896 › scan 91
Scan 91
A dictionary of violin makers, 1896
26 lines. Read by computer on 3 September 2026. Printed page 83. See the scan on archive.org.
1Simoutre, Nicolas, b. 1788, at Mirecourt; d. 1870, at Metz. He began his business as a violin maker in 1820; in 1844 settled in Metz and worked there till his death. His son, Nicolas Eugène, was also a maker.
3Simoutre, Nicolas Eugène, son of Nicolas Simoutre; b. April 19, 1834, at Mirecourt. Was first a pupil of his father, then of Darche, in 1852, at Paris; then of Ch. Roth, in 1856, at Strasburg. He worked in Strasburg for four years, and in 1860 founded workshops both at Mulhausen and at Basle; since 1890 he has returned to Paris. He made various suggestions for improving the tone of violins; in 1883 he published on this subject, "Aux amateurs du violon historique, construction, réparation et conservation de cet instrument"; this was followed, in 1886, by "Un progrès en lutherie"; and in 1889 by a "Supplément aux amateurs du violon et au progrès en lutherie." He was awarded a "diplôme d'honneur" at the Basle Exhibition in 1877, and again at Zurich, 1883; but at the Paris Exhibition, 1889, only a bronze medal was awarded, which he refused to accept.
5Simpson, James, and Son. Were musical instrument makers in London in 1794. Label: "J. and J. Simpson, musical instrument makers at the Bass-Viol and Flute in Sweeting's Alley, opposite the East door of the Royal Exchange, London." The following label probably belongs to the son: "John Simpson, musical instrument maker, at the Bass Viol and Flute, in Sweeting's Alley, opposite the East door of the Royal Exchange, London."
7Sirjean. Was a maker of bows in Paris, at 31, rue de l'Ecole, in 1818.
9Sitt, A. A maker in Prague. A violin that he exhibited at Munich, in 1854, made on the Stradivari pattern, showed fine work; only the wood was rather thick and the tone slightly rough and dull, but both these defects would naturally wear off with time.
11Slaghmeulen, Jan Baptist van der. A maker in Antwerp about 1672. A violoncello of that date was exhibited in Paris in 1878, its proportions are good; the sound-holes much opened, but well cut; the varnish a pale brown colour; the scroll is pierced and represents a carved head surmounted by a gilt crown; within the purfling on the upper plate is a black band with a design in gold. Label: "Joannes Baptista van der Slaghmeulen tot Antwerpen, 16—."
13Smith, Henry. A maker of viols in London in 1633. In a collection of airs called Tripla Concordia, published 1667, is an advertisement of a chest of viols "made by Mr. Henry Smith, who formerly lived over against Hatton house, in Holbourn, containing 2 trebles, 2 tenors, 2 basses. The chest was made in the year 1633."
15Smith, Thomas. A maker in London about 1740-90. Pupil and successor of Peter Wamsley. He had a great reputation as a maker of violoncellos, his instruments are much liked in England; they are made on the Stainer model, and some have a powerful tone, though not of very good quality; the varnish is rather poor, of a brownish-yellow colour; in 1799 they sold for £5 5s. up to £8; more recently two realised £30 and £40 each. It is doubtful if he ever made any violins and tenors. John Norris was a pupil of his. Label: "Made by Thos. Smith at the harp and hautboy in Pickadilly, London, 1756"; similar labels were used until 1766.
17Smith, William. A maker in Hedon, Yorkshire, in 1786. Label: "William Smith, violin maker, Hedon, 1786."
19Sneider, Giuseppe. A maker in Pavia about 1700-25. A pupil of Nicola Amati. His violins are slightly arched, the sound-holes gracefully cut, the workmanship carefully finished; the varnish is a rich yellow colour. Instruments made by Girolamo, son of Nicola Amati, have often been attributed to Sneider. Labels: "Joseph Sneider Paviæ, alumnus Nicola Amati Cremonæ fecit, anno 1703," and "Giuseppe Sneider in Pavia 1718, alumnus Nicola Amati Cremonæ."
21Snoeck (Schnoeck), Egidius. A maker in Brussels in 1731. Instruments are known of his, which are well made on the Amati pattern, with beautiful red-brown varnish. Label: "Egidius Snoeck tot Brussel, 1731."
23Snoeck, Marc. Worked in Brussels after 1744. The following inscription was found written in a violoncello, which had undergone important repairs: "Cette basse par Marc Snoeck, réparée pour faire voir à ces envieux mon adresse, icy près de l'Eglise de Saint-Gery à Bruxelles, ancien luthier." There is no date, but what is presumably the original label is dated 1744, viz.: "Jean Christophe Vetter, Strasbourg, 1744."
25Socchi, Vincenzo. Was working in Bologna in 1661, according to the
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