Books › The fiddle fancier's guide; a manual of information regarding violins, violas, basses and bows of classical and modern times, together with biographical notices and portraits of the most famous performers of these instruments, 1892 › scan 98
Scan 98
The fiddle fancier's guide; a manual of information regarding violins, violas, basses and bows of classical and modern times, together with biographical notices and portraits of the most famous performers of these instruments, 1892
12 lines. Read by computer on 29 August 2026. Printed page 84. See the scan on archive.org.
1his son, Jean-Baptiste-Felix, born in Paris, 1793, and died in 1858, and one of his grandsons, Charles, born 1803, and died 1859. Eugène Henry, son of the last-mentioned, was born in 1843, and is a good restorer.
3HILL. A family of English violin-makers, which has existed in London for about as long a period as the Henry's existed in Paris. The first of the name appears to have been—
5HILL, JOSEPH. A pupil of Peter Wamsley. The only instruments of this maker which I have seen were a tenor and a 'cello. The tenor was in the exhibition of 1885, and deserved, in my opinion, high commendation for its finish and the appearance of the varnish. The sound holes might have been more artistically designed, but the style of the instrument, and the brilliancy of its varnish, as it hung in its case, really seemed to be dangerously near the genuine Italian article.
7HILL, LOCKEY, London, about 1720. A violin by this maker was exhibited at the same exhibition, and had, I remember, a very beautiful back.
9HILL, JOSEPH AND SON. 1770. This firm was represented at the same show by a very clever-looking violin, and I have seen a fine 'cello by them of Ruggerius model, with ornamental purfling, and of excellent tone, especially on the two lower strings.
11HILL, LOCKEY. About 1810. There must have been two Lockey Hills, I should think, if the dates in two violins bearing this name are correct, or correctly printed in the catalogue of the exhibition in which they were shown. The 1720 violin was a very clever looking instrument, but the 1810 specimen was quite a little gem, in a plain
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