Scan 297
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.
1on the 23rd. October, 1922. Gold medals at Berne and Lyons. Nos 472, 473, 474, 475.
3VINDES (A.) — Buenos-Ayres (Argentina). Contemporary maker.
5VOIT (Anton) — Chicago (514, Cable Bldg). Contemporary maker.
7W
9WERRO (Jean) — Berne and Islington. Contemporary master maker born at Muntelier (Canton of Fribourg) in 1868, descendant of an old Swiss family. After studying violin making in Germany, France and Italy, he established himself at Islington (England) where for over twenty years he carried on his work of maker and repairer, acquiring a great reputation. Returning to his native country, he established himself in 1914 at Berne, with his two sons as collaborators. Their work is of the very first order and after the Stradivarius model of the great period, but with an original rendering to be found even in the smallest details. For example, the turning of the scroll denotes refinement, also the spontaneous design and cut of the sound holes. A fine transparent orange varnish adorns their instruments, the tone of which is both generous and pleasing.
11WERSCHOFF (Morris) — Philadelphia (Pennsylvania). (823 Walnut Street). Contemporary maker.
13WESTON (Arthur-F.) — Minneapolis (Minnesota). Contemporary maker born in 1858. He follows the Guarnerius I. H. S. model. Sound modern make.
15WILL (Léopold) — Geneva circa 1870. More of a dealer than a maker.
17WILLEMS (Georges) — Ghent circa 1640. The instruments by this maker are of finished workmanship and after the Amati model. The varnish he used is not good, lacking transparency and suppleness.
19WILLEMS (Henri) — Ghent 1651-1688. Like the one preceding, who was probably his brother, he had an arched model with the
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