Scan 81
The Violin Gallery: Comprising: Section I. South Kensington Special …, 1890
23 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1223 JACOBUS STAINER. R. D. Hawley, Esq., Hartford, Conn.
21621-83. This maker is said to have studied under Amati. Authorities differ. Starcke says he never was in Italy. But I am of the opinion that he never learned elsewhere that masterly workmanship, and how to prepare that beautiful rose colored varnish which he laid on No. 143. His model is higher than the Italian and f hole shorter—being only 2 3/4 inches long—with bolder curves and end curves perfect circles, middle bouts deeper than Amati's and purfling very near the edge. Tops very thick in center—diminishing to edge—there very thin.
3Certain it is that if this artist had lived in the shadow of Stradivari's workshop he would have been a strong rival of Joseph Guarnerius and Carlo Bergonzi, but such is the discrimination against the high model, and consequent thicknesses, that he has to be content to take place way down the line and go for $300 to $450.
5224 RICHARD DUKE. LONDON, 1773. Miss Grace Frisbie, Des Moines.
6An elegant instrument. Color light brown, copy of Stainer, though this maker copied Amati also. Observe the precision with which he has followed his Stainer pattern; full upper bouts, deep inner bouts, high model and a short beautifully rounded f hole terminating very near the purfling. It is as perfect a Stainer copy as is the Vuillaume No. 222 a Strad copy. Duke is justly celebrated as the greatest English maker—look out for frauds, like fraudulent Stainers, they are legion while the genuine is scarce.
8225 DAVID TECHLER. ROME. Mr. Henry Plumb.
9Stainer school—though this instrument, of course, is Amatese; deep yellow varnish, and high model. This maker imitated both Amati and Stainer. He was first established at Salzburg, and went afterward to Venice, where the higher merit of his work caused so much jealousy that the other makers threatened him with assassination unless he left the place immediately. Upon this strong hint he went to Rome, where he was allowed to remain in peace and end his days.
11226 SEBASTIAN KLOTZ. MITTENWALD. Mr. Robt. Robinson, Des Moines.
12Very fine workmanship; color light yellow, tone silvery.
14227 JOFREDUS CAPPA. 1640. Prof. J. Schmidt, Des Moines.
15Color yellow; good for orchestra work.
17228 GIOVANNI FRANCESCO PRESSENDA. TURIN, 1830.
18Mr. John Givin, Des Moines.
19Beautiful red varnish, of great merit for modern manufacture, and certainly far surpasses that of his teacher, Storioni, the last of the Cremona makers. He also improved on Storioni's model, which shows him to have been a man of much progressive genius. Bought by Mr. Givin from Mr. George Hart, London. Prof. L. S. Gerberich, of Des Moines, owns a fine specimen of this maker.
21229 PERRY & WILKINSON. DUBLIN, 1830. Mr. Mart Teeters, Des Moines.
22Copy of Stradivari; excellent yellow varnish, very transparent and highly polished. The violins and cellos of this firm are advancing in the appreciation of connoisseurs and performers, and are destined to take high rank.
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