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 221
Scan 221
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
12 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1LINDSAY, MICHAEL H., Stockton-on-Tees, contemporary. He was born in Ireland on April 12, 1837. He has been a professional violin-maker for nearly forty years. He follows the Stradivarius model, using handsome wood and a fine varnish. I have seen only one of his instruments, which was well made and had a rather small but very sweet tone. M. Polonaski has tried some of this maker's violins, and reports very favourably on their tonal qualities. The Messrs. Balfour, the violin experts, say with regard to his varnish that it "should rank among the highest of the varnishes now in use, being Cremona-like in style." Whilst unable to endorse all that these experts say in this matter, I unhesitatingly add that the varnish is of an excellent quality. But it is impossible to form just conclusions either as to workmanship or tone from the examination of a single specimen. Mr. Lindsay had a paralytic seizure some two years ago, and he is unable now to make new instruments, but has to confine himself to repairs. He won a medal for an exhibit of violins at the Liverpool Exhibition. He has made a large number of violins, violas, violoncellos, and double-basses.
3Facsimile label:—
5Michael Lindsay.
6Maker.
7Stockton-on-Tees. 1899
9LISTER, JOHN, Leeds: 1720-30. Very ordinary Stainer copies.
11LOGAN, JOHN, Biggar, N.B., contemporary. He is an excellent amateur maker who has made and restored a large number of instruments. He follows the Joseph, Strad, and Maggini models. One violin which I examined was made on the Strad model with plates graduated after a Maggini instrument. The tone was large, rich, and free.
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