Scan 275
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.
1work, and his mode of assembling certain parts. His model is after that of Stradivarius; the fibre of his woods is close. The edges are considerably turned up. Red orange varnish. The scroll seems to be the weak point of his instruments. Apart from the label he branded instruments near the sound post. No 176.
3GUILLAMI (Juan) — Barcelona. Son of above mentioned. On the whole his work is inferior, the woods not being so well chosen and the varnish being drier. No 187.
5GYGOT (Antoine) — Brussels 1800. Style of Médard of Paris. No 277.
7H
9HAMAN (Valentine) — Millwood. Born in Columbiana County (Ohio) in 1831, of German parents. Stradivarius model. Medium class work of a slightly heavy aspect. Orange varnish lacking suppleness. Invented a system for the improvement of the tone of instruments.
11HAMMERBACHER (Geo.-L.) — Baltimore (1107 N. Collington Ave.). Contemporary maker.
13HAMLIN (Dr. Cyrus-W.) — Brooklyn (180 Sullivan St.). Contemporary maker.
15HARMON (David) — Pittsburg (Pennsylvania). Contemporary maker.
17HEAPS (Alfred) — Sydney (Australia), circa 1880. Good modern make. Very effective oil varnish.
19HEBERLEIN (Conrad) — Chicago (Illinois). Born at Markneukirchen (Germany) in 1878. Effected his studies in his native town and the best workshops. Copyist of Guarnerius and Stradivarius. He coats his instruments with an oil varnish of different shades. Much appreciated as maker and repairer. His firm is established at 418 Athenaeum Building, 59 E. Van Buren St.
21HEBERLEIN (Bros.) — Chicago (59 E. Van Buren St). Contemporary makers.
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