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Scan 146
The Hawley Collection of violins, 1904
10 lines. Read by computer on 3 September 2026. Printed page 76. See the scan on archive.org.
1THE HAWLEY COLLECTION OF VIOLINS
3works of this period are beautiful examples of the luthier's art. With few exceptions they are constructed on the Stradivari pattern, mostly of the broad type, yet a few are more Amati in character. The latter have their edges artistically rounded after the manner of Stradivari, 1685 to 1690. The sound holes and scrolls are done in a masterly manner. A splendid example of Lupot's work of this period is in the possession of Mr. Leslie W. Brown.
5In 1800 Lupot entered upon his golden period, which was to last for fifteen crowded years. He was now forty-two years of age and at the height of his career. The model he now adopted was bolder and in its masterful execution rivals even the work of the great Cremonese maestro himself. The maple employed in his backs and sides is most beautiful in figure, many are whole backs with a broadish flame extending across upward from left to right. The pine of the tops vary, being at times more than ordinary breadth of grain and again quite fine. The edges are broad and strong and the purfling set in very far, lending an air of solidity and power, a distinguishing characteristic which was afterwards copied by his successors. The varnish, while not possessing the elasticity of that of the Cremonese masters of a hundred years prior, is surpassingly fine. It has borne a century's wear in an admirable manner, and for picturesque effect acquired by age and wear is not excelled by the varnish of any other maker. In 1800 his only copy of a Pietro Guarneri, so far as known, was made. It is as a piece of workmanship not excelled by anything of his we have seen. In 1804 appeared the specimen known as the Mazas, having been the property for many years of Jacques Féréol Mazas, 1782-1849, famous composer of duos, trios, quartets, etc., for the violin. Lupot now removed his shop to the Rue Croix des Petit Champs, the location of so many luthiers and other instrument and bow makers, where he remained to the time of his death. His genius by the year 1805 was fully recognized throughout the world. He seems to have had the warm friendship of many artists of the day. Spohr was a great admirer of his violins and in his later years sometimes used one for solo work in preference to his Cremona. The great French school of violin playing was then in its zenith and the ground was a fertile one for the development of Lupot's genius. Viotti, Rode, Mazas, Paganini, Habeneck, de Beriot, Kreutzer, and many others were giving to the world those masterful compositions which still take precedence over the productions of any other epoch, and are the foundation upon which the modern school of violin-playing rests. In the years 1805 to 1807 Lupot completed several well known copies of the Stradivari period, 1725 to 1728. His style changed slightly, now becoming a little less rounded than in the preceding year, and his model became flatter. This variation he retained during the remainder of his golden period. In 1809 the Hawley Lupot, justly regarded as one of his finest efforts, appeared. It is one of his flat-type instruments, very beautiful in wood, varnish, and finished workmanship. It is in an admirable state of preservation, and possesses a tone of remarkable richness and power. Mr. Hawley secured it from Mr. Hart in 1877. It now belongs to Mr. John T. Garvey, Utica, N. Y.*
7In 1810 the specimen known as the Chardon appeared. It is now in the possession of Mr. D. J. Partello, and is one of the handsomest Lupot's known. The var-
9* The measurements of the Hawley Lupot are to be found in the Table of Measurements.
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