Scan 266
Critical & Documentary Dictionary of Violin Makers Old and Modern, 1928
22 lines. Read by computer on 5 October 2026. No printed page number was found. See the scan on archive.org.
1this fine make has also the advantage of a refined quality of tone not lacking depth. It is to be noticed however that this maker has been unequal in his production, as in his choice of woods, and his label is to be found in instruments of inferior workmanship. He used a fine red varnish of a rather dark shade. No 167.
3CONTRERAS (José), called LE GRANADINO — Madrid circa 1740-1775. This greatly valued maker appears to have learnt in Italy, but with which master it is difficult to say. His model is large with sound holes cut after the manner of Guarnerius del Gesu. Woods of excellent quality, and this also applies to the quality of tone, which is very full. Much sought after by artists. No 175.
5CONTRERAS (José) — Madrid circa 1780. Son and pupil of the one above. Same work. No 190.
7CONWAY (George-S.) — Newark, New-Jersey. Contemporary maker.
9COPLAND (J.-N. & Co) — Chicago (63 E. Adams Street). Contemporary maker. When quite a child he was fascinated by the art of making. His research and work have contributed to the production of instruments acknowledged to be excellent, and these have endowed him with a well-deserved reputation.
11COULTER (F.-E.) — Portland (Oregon). Contemporary maker.
13COUTURE (Camille) — Montreal, Canada (257, Jeanne Maria St.). Contemporary maker.
15CRISTOFORI (Francisco) — Chicago. A good maker of this name worked in Chicago at the end of the xixth century.
17CUSHMAN (John) — Collins (Ohio). Contemporary bow maker.
19CUYPERS (Johannes the Elder) — The Hague circa 1720. Excellent maker of violins whose work of genuine value recalls that of the Italian School. No 493.
21CUYPERS (Johannes) — The Hague circa 1780. Nephew and
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