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British Violin Makers: A Biographical Dictionary of British Makers of Stringed Instruments and Bows and a Critical Description of Their Work, 1920
8 lines. Read by computer on 29 August 2026. Printed page 156. See the scan on archive.org.
1GIBBS, JAMES, London: 1800-45. It is not certain that he made any instruments on his own account, but he worked for J. Morrison, G. Corsby, and S. Gilkes.
3GILBERT, JEFFERY JAMES, Peterborough: contemporary. He was born at New Romney, August 16, 1850, and is a son of Jeffery and Eleanor Langley Gilbert. He is a lineal descendant of an old Kentish family, one of the most notable members of which, in recent times, was Sir Jeffery Gilbert, "The accomplished exchequer baron." He was educated at Crockley Green Grammar School. Mr. Gilbert is a professional maker, and belongs to the very élite of the craft, the workmanship, varnish, and tone of his instruments giving him a place among the few who occupy the innermost circle of present day makers.
5Although of a musical and artistic turn of mind, he had reached manhood before he had entertained any thoughts of becoming a violin maker. The thought that he could construct an instrument had no sooner entered his mind, however, than he found himself fast in the grip of the "fiddle disease." The purely mechanical part of the work never gave him any trouble, but he soon recognized that it required something more than an expert use of carving tools to fashion a great violin. Fortunately for him, he made the acquaintance about this time of several eminent connoisseurs and experts, notably that of the late Charles Reade, the late George Hart, Dr. John Day, and Mr. George Withers, all of whom took an interest in him and gave him useful advice from time to time. Charles Reade was specially kind, and not only imparted to him valuable knowledge, but kept in touch with him down to the time of his death.
7Mr. Gilbert has made, up to date, about three hundred instruments, including violins, violas, violoncellos, and "viola-altas." He is not a rapid worker, and has not made more than about eight instruments in any single year, but the amount of patient attention he devotes to each instrument is extraordinary indeed. "Every instrument that is
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