Bow & Bridge Violin and bow makers, as the old books printed them

Books › Violin tone and violin makers, 1916 › scan 253

Scan 253

Violin tone and violin makers, 1916

18 lines. Read by computer on 3 September 2026. Printed page 231. See the scan on archive.org.

1label with a neatly engraved border. Writer has seen examples branded under the tail pin. Some of his work has been ascribed to Pressenda.
3PIZZURNO, DAVID.—Genoa; circa 1750-65. Specimens scarce. Mediocre work.
5PLACHT.—Schönbach; eighteenth and nineteenth centuries. Well over a score of makers of this name are enumerated.
7PLANI, AGOSTINO DE.—Genoa; second half of eighteenth century. Very commonplace work.
9PLATNER, MICHAEL.—Rome; 1735-50. His was probably of German origin. His work belongs to the school of Tecchler, and it is not unlikely he worked for that maker. He used pretty red and golden yellow varnish, and was a good scroll cutter. The arching of his violins is rather full, and the general appearance of the instruments is of German character.
11PLUMEREL, CHARLES.—Angers; nineteenth century; first half. A clever workman. Instruments somewhat resemble those of J. B. Vuillaume in style and finish.
13POIRSON, ELOPHE.—Lyons. Born 1840. Began as an amateur maker. He invented a varnish which is supposed to impart an improved quality of tone. Uses a label with his portrait upon it. The workmanship of his instruments is well finished.
15POISON, JUSTIN.—Paris. Born 1851. A well-known bow-maker.
17POLLER, ANTON.—Vienna; contemporary. Stradivari pattern. Reddish yellow varnish.

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