Books › British violin-makers classical and modern; being a biographical and critical dictionary of British makers of the violin from the foundation of the classical school to the end of the nineteenth century, 1904 › scan 116
Scan 116
British violin-makers classical and modern; being a biographical and critical dictionary of British makers of the violin from the foundation of the classical school to the end of the nineteenth century, 1904
15 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1that is, the face of the Father of his country and the laws of the great Constitution were represented by one and the same thing. So in Mr. Buckman's work. View it broadly, and you see the sign-manual of the living artist; view it closely, and you discover the dicta of the great classical epoch.
3Several of this maker's instruments are made with a slab back. In one of these the archings are rather flatter than usual, owing to the wedge from which the back was cut being somewhat thin, but the "correct" cubic capacity is maintained, and the tone is both large and brilliant. In nearly all the instruments with a slab back, the curl of the maple runs at an angle of forty-five degrees to the longitudinal axis, giving a very pretty effect to the whole.
5Mr. Buckman has played the violin from his youth, but he now suffers from nerve-deafness, and loses during its recurring attacks all perception of melody. Facsimile label:—
7GEO. H. BUCKMAN,
8DOVER, 1899.
10C
12CAHUSAC, ——. Nothing known of him except that he was associated with the sons of Benjamin Banks for some little time.
14CALOW, WILLIAM, Nottingham, contemporary. He was born on June 6, 1847, at Tansley, near Matlock, Derbyshire, and is the son of Thomas Calow, who was also an occasional violin-maker. He makes violins, violas, and double-basses on the Guarnerius model, and repairs extensively. He is assisted by his son Thomas, but the greater part of the work is personal. He uses oil and spirit varnishes. Colours: orange
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