Worked from 1872-1906. Made about 200 violins and a few ’cellos. Something quite personal about the modelling. Outline variously following the designs of an Amati, Stradivarius or Guarnerius, but always with slight modifications, but we cannot quite determine whether he purposely intended certain divergencies or whether he lacked the perspicacity and skill to faithfully delineate. Contour rather masculine than feminine. Arching not always finely graduated though perhaps he was searching for that very elusive thing, tonal quality. Best efforts in this direction assume the extended slight arching of a Maggini. Margins generally of medium width. Strong but nicely finished and rounded edge, slightly raised, early instruments occasionally less refined in this particular matter. Superb neatness in the purfling, very conspicuous as the bed around the edge is only almost imperceptibly grooved. Sound-holes somewhat Stradivarian. Length 3 inches; distance between each one at the top, 1-9/16. Finely executed scroll, protracted grooving at the lower turn of the volute, broad from boss to boss, wide peg box, perhaps a little too heavily wooded. Supposed to have furnished makers and dealers with hundreds of scrolls, a particular class of carving in which he seems to have no contemporary superior. Various shades of oil varnish (with fossil gum amber for basis), mostly own preparation, including a fairly rich yellow, orange red and cherry red, each soft and transparent. Strong and clear tonal quality but slightly unsatisfactory in richness. Perhaps the years to come will advantageously affect the latter. Made six examples christened “The Tower”, the backs consisting of maple taken from an old seasoned plank in the tower of Gomersal Church. Produced one named “The Gouge”, inside and outside work entirely accomplished with the little semicircular chisel; sandpaper and rasp having no concern with it. Another named “Patchwork” is made of various kinds of wood. Created a few ’cellos which have attracted the attention of good performers. Bold outline, finely shaped sound-holes and scroll, purfling rather pronounced and expertly varnished.
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Willian Heaton
Maker
Hill Top, Gomersal
Nr. Leeds.
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Several early instruments not labelled, but have the name stamped on the end blocks. Others autographed on the inside of breast.
Worked from 1872-1906. Made about 200 violins and a few ’cellos. Something quite personal about the modelling. Outline variously following the designs of an Amati, Stradivarius or Guarnerius, but always with slight modifications, but we cannot quite determine whether he purposely intended certain divergencies or whether he lacked the perspicacity and skill to faithfully delineate. Contour rather masculine than feminine. Arching not always finely graduate...