Scan 265
Critical & Documentary Dictionary of Violin Makers Old and Modern, 1928
20 lines. Read by computer on 5 October 2026. No printed page number was found. See the scan on archive.org.
1C
3CALLIER (F.-J.) San Antonio (Texas). Contemporary maker.
5CARLISLE (Joseph-R.) — Cincinnati (Ohio): Born at Ashland (Kentucky) in 1886. Contemporary maker, partner in the firm of Wurlitzer of Cincinnati. Skilled imitator of the Italian masters, and his research work on varnish has been crowned with success. He is now making violins after his own model and these are sought after by artists and amateurs as much for their tone qualities as for their workmanship.
7CHADWICK (Ada-Allen.) — Springfield (Mass.). Contemporary maker.
9CHASE (David) — Brooklyn, New-York. Contemporary maker.
11CHEVRIER (André-Augustin) — Brussels towards 1830. This talented maker has left excellent instruments after the Stradivarius model which have a genuine artistic value. His varnish, red brown or orange, has a tendency to crackle.
13CLARK (George) — Des Moines (Iowa). Contemporary maker.
15COLLINGWOOD (Joseph & Sons) — Ottumwa (Iowa). Born in 1853. He at first learnt to play the violin and made an instrument which gave him satisfaction. Thus encouraged, he pursued his research by making others, and was so successful that he became a distinguished professional. His reputation is as great as his production, for it is by hundreds that the latter may be reckoned (approximately 700 instruments). This great output is shared with his son and collaborator.
17COLTON (Walter) — Brooklyn. xixth century. Interesting modern make.
19COMBLE (Ambroise de) — Tournay circa 1750. This master has always been looked upon as a pupil of Stradivarius, but this has never been proved. His model is certainly after that of the Cremoneese master, but somewhat flatter. Of very finished workmanship,
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