Worked in London, 1770-1795. Directed his attention to producing truly high works of art, and carried his imitative genius with loving zeal into a kind of Stainer-Amati atmosphere, yet not quite without a touch of something individualistic. Instruments such as these, if judged without prejudice, should make some of us mistrust many of the condescending remarks which certain connoisseurs sometimes give utterance to in a kind of patronising way, when alluding to English violins. Architecturally (allowing for the somewhat high arching), they admit of no adverse criticism. Body length 14 inches, but sometimes slightly longer. Margins beautifully full and perfectly rounded; solid-looking but entirely without heaviness. Corners rather pointed but artistically neat. Fairly bold scroll, well executed, not deserving of the slightest censure, and an especially open throat. Sound-holes more typically Amati-like than Stainer, being of graceful curvature with a slight slant, but rather a wide central aperture. Neat purfling placed very near to the edge, and sometimes with a strip of white wood between two very narrow strips of black wood. Carefully chosen belly wood, backs and ribs of handsome material. Deep-tinted golden yellow, or brownish golden varnish with a slight tinge of red. Inside work microscopically accurate. Tonal quality not large, but particularly clear and warmly mellow.
Worked in London, 1770-1795. Directed his attention to producing truly high works of art, and carried his imitative genius with loving zeal into a kind of Stainer-Amati atmosphere, yet not quite without a touch of something individualistic. Instruments such as these, if judged without prejudice, should make some of us mistrust many of the condescending remarks which certain connoisseurs sometimes give utterance to in a kind of patronising way, when allud...