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 320
Scan 320
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
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1only pupil of his father and of John Lott, the well-known violin-maker. He commenced business at 31 Coventry Street, London, in 1856, and moved later to 22 Wardour Street. He worked with his father for a period of over twenty-five years, and during that time made many new instruments, and also executed nearly all the principal repairs that were entrusted to the firm. Mr. Withers copies exclusively the Stradivarius and Guarnerius models, using very old and carefully selected wood. His varnish is entirely oil, and varies in colour from amber to brown and red or golden red. His method of varnishing is unique. He always puts amber varnish on the wood and then hangs the fiddle up to dry for some years before putting the colour on. The colour is also oil.
3He has made a large number of instruments, including violins, tenors, and violoncellos. He turns out on an average about twelve instruments per year. All these reach a high standard of excellence, and are characterised as much for their beautiful tone as for their exquisite appearance. His prices are: violins and tenors from £10 to £65; violoncellos from £20 to £150.
5On June 1, 1893, he was appointed by Royal Warrant violin-maker to H.R.H. the Duke of Edinburgh.
7Three sons now assist him in the business. These are: Edward Sidney Munns, born Aug. 3, 1870; Sidney Bernard, born Oct. 22, 1873; and Douglas Sidney, born Aug. 10, 1879.
9In Nov. 1896 Mr. Withers invented the new sound-post, now universally known as "E. Withers' Patent Prepared Hollow Sound-Post."
11Mr. Withers is one of those who believe in oil varnish. He expresses a strong belief that the varnish affects the quality of the tone to an extent not allowed by the majority of writers on the subject. Acting on this belief he was led early in life to pay a close attention to the varnish question, and to conduct a series of experiments with the view of wringing the secret out of the great Ghost of Cremona. It is this belief
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