CORNELL 
 
 UNIVERSITY 
 
 LIBRARY 
 
 GIFT OF 
 Charles Brown 
 
 MUSIC LIBRARY 
 
.., ^ Cornell University Library 
 
 ML 802.L99 1917 
 
 Catalpa of rare old violins, violas and 
 
 3 1924 022 391 449 
 
'M 
 
 Cornell University 
 Library 
 
 The original of this book is in 
 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924022391449 
 
CATALOG 
 
 OF 
 
 Rare Old Violins 
 
 Violas and Violoncellos 
 
 ALSO 
 
 BOWS OF RARE MAKES 
 
 COLLECTION OF 
 
 ^on & Wealy 
 
 CHICAGO 
 
 27th Edition — May, 191 7 
 
 The first of the series having been published In 1890 
 
MU 
 
 my 
 
 Ojpyright, 1917 
 
 by 
 
 LYON & HEALY 
 
 Chicago 
 
 ^'ff 7-?? 7 
 
 The FAITHOR^f Company 
 Chicago 
 
Foreword 
 
 JLN this, the Twenty-seventh Edition of our Catalog of Rare Old Violins, 
 Violas, Cellos, Bows, etc., we offer a noteworthy collection of instruments 
 by the great violin makers of the 17th, i8th and 19th Centuries. 
 
 Our Violin Department was inaugurated in 1888, and it was the am- 
 bition of the late P. J. Healy (founder of the house), that it should be 
 a leading factor in the musical development of America by supplying 
 violins of highest quality, so that every violin offered in this department 
 should be the best possible value in its class, musically and commercially. 
 
 The violin occupies a unique position in the musical life of the country. 
 
 It forms the foundation of the orchestra, around which the other 
 instruments are grouped, as well as being the principal solo instrument of 
 our concert stage and the favorite instrument of a large portion of our 
 people. 
 
 It follows, therefore, that the question of quality is most important to 
 any one contemplating a purchase. The necessity of owning a good 
 instrument becomes obvious to every violin player before he progresses 
 very far in his studies. Musical quality comes to be appreciated as the 
 musical faculties are cultivated. To violin students this is of supreme 
 importance because it invariably, sooner or later, reflects itself in the 
 playing. The late Theodore Thomas used to say that he "could tell the 
 kind of violin a soloist had used in his younger days, after hearing him 
 
4] Rare Old Violins 
 
 play a few measures." By this he meant that the quality of tone possessed 
 by the artist was a sure index of the violin he had used in his student 
 days. If the tone of that instrument had been hard, stiff and non-elastic, 
 that of the mature player took on the same quality; and although it might 
 be very much improved by the instrument used in his concert work, yet 
 there always remained that lack of beautiful tone color — that musical 
 feeling which identifies the true artist. 
 
 Our Collection this year contains an unusual number of attractive 
 and interesting specimens of the work of the great Italian makers, some 
 of which are truly remarkable. An added feature and an equally interesting 
 one is the large number of excellent violins at medium prices, made 
 possible largely by the European War. We wish to call the attention of 
 concert violinists to the exceptional opportunities now afforded for the 
 selection of fine instruments. We have never had such a large number 
 of magnificent concert violins at moderate prices. 
 
 Owing to our long experience, and the extraordinary care exercised by 
 us in the selection, our violins are better in point of preservation than 
 those of houses less fortunate, and the genuineness of Lyon & Healy 
 violins is accepted everywhere. Constant application of these principles 
 for many years has resulted in the bringing together of a number of the 
 choicest, purest, best conditioned violins in the world today. While one 
 or two European firms may, from time to time, exhibit more famous 
 individual instruments than are contained in the Lyon & Healy collection, 
 no one of them — it would be found by any competent judge willing to 
 make the investigation — possesses a stock so comprehensive and so entirely 
 representative of the very best the world offers in a// classes of violins. 
 
Rare Old Violins [5 
 
 Our constant aim is that, in its class, every old violin offered by us 
 shall be unique in point of musical worth and value, to the end that one 
 who buys from us an old violin at a modest price shall receive an instrument 
 which, as far as it goes and in its class, is as desirable as the most expensive 
 Stradivarius or Guarnerius. This is a feature of deep interest to violin 
 lovers, collectors, students, and to the intending purchaser who is desirous 
 of spending his money where he is certain of receiving proper value. 
 
 We wish to call special attention to the artistic adjustment which 
 every violin sold by us receives before leaving our establishment. Even 
 a Stradivarius will not sound properly unless it is correctly adjusted. 
 Without adjustment an instrument is never at its best — all the finer 
 qualities being lost. We have had many years experience in the careful 
 regulation of fine violins, and to this fact credit must be given, in a large 
 measure, for the satisfaction which the violins from our collection afford. 
 It is a matter too often overlooked by purchasers of violins because they 
 do not understand its importance. We cannot emphasize too strongly the 
 fact that without artistic repair and adjustment, disappointment usually 
 follows; with it an instrument is a source of joy and pleasure forever. 
 It means the difference between failure and success — between dissatisfaction 
 and satisfaction. 
 
 We call especial attention to a complete line of W. E. Hill & Sons, 
 London, Bows, which we are now introducing. They are very exceptional 
 in quality. This famous firm of violin makers and bow makers has a 
 reputation which is not approached by any other European house. 
 
 Obviously, in a catalog of this size, it is impossible to give anything 
 like adequate descriptions of the various instruments listed, and we there- 
 
6] Rare Old Violins 
 
 fore suggest that those interested write us, when we will give any further 
 
 information desired. Also an opportunity for examination and trial will 
 
 be promptly arranged for. 
 
 Sincerely yours, 
 
 LYON & HEALY. 
 
 Note: — We have a most attractive catalog of modern Violins, 
 Violas, Cellos, Basses and accessories, which will be sent on applica- 
 tion. It should be in the possession of every teacher of the violin 
 or cello. 
 
 Conditions 
 
 Prices quoted in this catalog are net. 
 
 Easy terms of payment, extending over a period of from two to three 
 years, may be arranged by responsible persons, and correspondence is 
 invited. 
 
 We take instruments in part payment and make the most liberal 
 allowances possible. Any instrument purchased from this catalog is 
 exchangeable for another of equal value, if it proves unsatisfactory, any 
 time within one year from date of sale. Any old violin, viola or cello will 
 be accepted by us at full price paid, in exchange for a better instrument, at 
 any time, if returned to us in good condition. 
 
Rare O/^ Violins 
 
 Antonius Stradivarius, Cremona, 1698 
 
 Number 4481. The work of the master at this time was of a different 
 character from that of any later period, in that the arching is more pro- 
 nounced. The sound holes, edges and corners are more delicate in char- 
 acter, reminding one of the grace and beauty of Nicola Amati in his 
 grand pattern violins. 
 
 It is a large instrument, in a very fine state of preservation and covered 
 with a rich red varnish. It possesses a grand tone which is especially 
 noticeable for its remarkable brilliancy. It is of a very bright, scintillat- 
 ing quality, which is no doubt exactly what Stradivarius sought when he 
 adopted this model, wood and measurements. 
 
 It is an exceptionally effective solo instrument, especially for an artist 
 who requires that particular quality, as many do. 
 
 It is not commonly known that at this period Stradivarius made some 
 of his largest violins. Those made in the years 1686, 1688 and 1690, are 
 fourteen inches, while many of the years of 1677, 1684, 1687, 1689 ^"^^ 
 1697, are fourteen and one-half inches. The Halier is fourteen and one- 
 eighth inches in length. (Plate I.) 
 Price: ^^7,500 
 
 Carlo Bergonzi, Cremona, 1732, the "Tarisio" 
 
 Number 4'/68. . This is one of the most celebrated violins by Bergonzi 
 extant. It formed a part of the famous Hawley Collection and was brought 
 to this country in the 70's, having been selected by Mr. George Hart for 
 Mr. John P. Waters, of Brooklyn, from whose possession it passed into 
 that of Mr. Hawley of Hartford, Conn., in whose collection it remained 
 until 1903. A short time previous we had purchased the entire Hawley 
 Collection, which was the largest transaction in violins ever consummated 
 in this country. All the instruments forming the Collection were speedily 
 
8] 
 
 Rare Old Violins 
 
 sold, among them this Bergonzi, which has only recently again come into 
 our possession. It is fully described in the Brochure of the Hawley Col- 
 lection, published in 1904. It possesses a tone of most fascinating quality 
 and ample power. It is a delightful instrument to play, as the size is slightly 
 under 14 inches. The varnish is of a rich, deep reddish brown color. 
 Price: 16,500 (Plate II.) 
 
 Sanctus Seraphin, Venice, 1745 
 
 Number 4710. This violin has been known to us for sixteen years. 
 It has been pronounced by many authorities the finest example of Sera- 
 phin's work known. In this catalog we have listed several violins of which 
 we have spoken as being very superior to the average of violins by the same 
 makers; this is especially true in the case of this great masterpiece. As 
 an example of violin workmanship it is beautiful beyond comparison. Its 
 voice is of the sweetest quality and of unusual power and brilliancy. Its 
 physical condition is perfect. It is very strong in wood, is without cracks, 
 patches, or blemishes of any description. The varnish is of a lovely light 
 orange color, unusually lustrous, and full of life. 
 Price: $6,000 (Plate IL) 
 
 Antonius Stradivarius, Cremona, 1717 
 
 Number 4483. With back by Vuillaume. An excellent specimen of 
 Stradivari's work of the period. Its tone is of the choicest quality, rich 
 and full. It is in every way an ideal instrument for general use. Because 
 of its back it is offered at an exceptionally low figure. The back, which was 
 done at an early date by Vuillaume, is an exquisite piece of wood and fits 
 in remarkably well with the general style of the top, sides, and scroll. 
 Its tone is purely Stradivarius in character and it is difficult to see where 
 it has lost any of its charm by reason of its back. Were this violin entirely 
 original it would bring a very much higher price. The top is of excep- 
 tionally fine quality spruce, of straight even grain. The back is one 
 piece of maple of the finest selection, having a beautiful figure. The 
 scroll is in the master's finest style. 
 Price: $5,500 
 
Antonius Stradivarius 
 
 Cremona, 1698 
 
 Number 4^81 — Description on page 7 
 
 Plate I 
 
Rare Old Violins [9 
 
 Sanctus Seraphin, Venice, 1744 
 
 Number 4785. A superb example of this great Venetian's work. The 
 name of Sanctus Seraphin has always stood high in the violin world. In 
 the selection of his wood, the artistry of his work, and in his beautiful 
 tone he has few equals, among even the Italian makers, and none among 
 the Germans or French. He was most fortunate always in his wood 
 selection, an item of the greatest importance to every violin maker. His 
 varnish is among the best used by Italian makers. 
 
 This instrument is in the finest possible state of preservation. It 
 is a superb violin, both in tone and appearance. The quality of its tone 
 is, of extraordinary brilliancy and carrying power. The back is formed by 
 two pieces of very handsome curly maple, which is matched by the sides. 
 The top is of spruce of the choicest selection known to the maker. The 
 varnish is of a beautiful rich golden brown color. (Plate III.) 
 Price: $4,500 
 
 Joseph Guarnerius, Filius Andreas, Cremona, 1710 
 
 Number 4624. A very choice example of this great master's work and 
 thoroughly representative in every respect. 
 
 Next to Joseph. Guarnerius del Gesu, Joseph, son of Andreas, is usually 
 regarded as the greatest of the name. His style shows that he was a real 
 artist in every way. He excels in the beauty of his varnish and wood selection. 
 This instrument is of full large size. It is flat in model, is in an excellent 
 state of preservation, and possesses a tone of great beauty and power. Its 
 tone may be said to be exceptionally mellow, even for a Cremonese instru- 
 ment. (Plate IV.) 
 Vrice: $4,000 
 
 Joseph Guarnerius del Gesu, Cremona, 1740 
 
 Number 4524. This instrument has been known to us for many years, 
 and it has recently come into our possession from a well known violin 
 connoisseur. It is by no means a representative example of the great 
 Joseph's work as may be surmised from the low price which is asked for it. 
 
] Rare Old Violins 
 
 lO 
 
 The violin, however, possesses a tone of the finest type and has always 
 been very highly regarded by every artist who has ever played upon it. 
 It is a beauty in wood and varnish and in the latter respect rivals some of 
 the best works of Guarnerius in this country. Its voice is its great asset 
 and this appeals immensely to most players. It has a very large robust 
 tone on the G string, a big D, fine A and flexible E. 
 Price: ?3,ooo 
 
 JOHANN BaPTISTE GuADAGNINI, TuRIN, 1 774 
 
 Number 4682. This is a splendid example of Guadagnini's work. 
 Owing to the fact that it has been held in one family in France for many 
 years, and not been used, it is today in a state of preservation like new. 
 It belongs to the best period of Guadagnini's work. The model is that of 
 Stradivarius, broad and flat. The wood is of the best selection known to 
 the maker. The varnish is of a brownish yellow color. The violin possesses 
 a tone of extraordinary power and brilliancy. It is an ideal concert instru- 
 ment and strongly recommended to any artist desiring a first class violin, 
 for it can be depended upon to stand up under any kind of hard work and 
 any and all weather conditions. 
 Price: $3,000 
 
 Giovanni Baptiste Ruggeri, Brescia, 1667 
 
 Number 468J. From the collection of the late Duke of Coburg. Form- 
 erly the property of the Duke of Edinburgh to whom, when a boy, it was 
 presented by his grandmother, the late Queen Victoria. 
 
 It is a rare example of Ruggeri's work. It is purely Amatise in char- 
 acter, medium size, and in a very fine state of preservation. Ruggeri 
 was a pupil of Nicolas Amati and was working at the bench in Amati's 
 shop at the time Stradivarius was serving his apprenticeship. 
 
 The instrument possesses a tone of rare beauty; it is rich and mellow, 
 large in volume, exceedingly flexible, even, and sympathetic. 
 Price: $3,000 
 
Rare Old Violins [i i 
 
 Matteo Goffriller, Venice, 1696 
 
 Number 4^86. The subtle, rich, mellow quality of GofFriller's tone has 
 always made his instruments favorites with violin connoisseurs. 
 
 This is one of GoflFriller's smaller sized violins. An ideal instrument 
 for a lady requiring a violin easy to play, yet possessing a large volume 
 of tone and superb quality. It is in a splendid state of preservation. 
 The back is in one piece of handsome curly maple; the sides are of the same 
 material. The top is of spruce of the choicest selection. The varnish is 
 of a very rich ruby red color. 
 Price: $3,000 
 
 GlOFREDUS CaPPA, SaLUZZI, 1 635 
 
 Number 4.668. Cappa was Nicolas Amati's chief contemporary in 
 Cremona. His work is not so well known and not so frequently met with. 
 It has always been mistaken for that of Amati until recent years when the 
 distinctions have been properly noted. 
 
 This is the finest example of Cappa's violins that we have seen. It 
 possesses a large tone of mellow, tender quality. It is strong and healthy 
 in wood, in excellent preservation, and is covered with a very abundant 
 supply of the original varnish, which is of a lustrous orange brown color. 
 It is an ideal solo instrument because of the power and vigor of its tone. 
 One could scarcely have a more delightful instrument for quartet or home use. 
 
 The back is formed of one piece of choice Italian maple, such as Cappa 
 was accustomed to use. The sides are exceptionally handsome and match 
 the back. The top is of spruce of the choicest selection. The workman- 
 ship throughout is highly artistic and in the best style of the maker. 
 Price: ? 2,7 50 
 
 Nicolas Gagliano, Naples, 1736 
 
 Number 468^. A stunning specimen. The model is Stradivari's 
 largest and broadest, such as he used from 1722 to 1726, and is built on 
 noble lines. The materials used are of the finest selection. Rarely, in 
 violins of Naples, does one find an instrument so beautiful in wood and 
 
12] Rare Old Violins 
 
 varnish as this. The back and sides are of very handsome curly maple. 
 The top is of spruce of very fine, straight, even grain. The instrument is 
 without crack or blemish of any kind. The tone is very robust, at the 
 same time very flexible, and of beautiful quality. It is an ideal concert 
 instrument and unsurpassed for quartet playing. 
 Price: ^2,250 
 
 Ferdinand Gagliano, Filius Nicolai, Naples, 1761 
 
 Number 42^3. A superb example of his work, in a fine state of 
 preservation. 
 
 Ferdinand was one of the best makers of the Gagliano family. His 
 violins have a robust, vigorous tone which is always sought by connoisseurs 
 and players. This instrument, while it shows a little wear, is for all 
 practical purposes in the same perfect physical condition in which it left its 
 maker's hands. The wood and varnish are of choice quality, the latter 
 being of a medium red color. It possesses a tone of great carrying power 
 and beauty of quality, even throughout the entire register. It is a highly 
 satisfactory instrument. 
 Trice: J 1,800 
 
 ToMASso Balestrieri, Mantua, 1760 
 
 Number 4681. Balestrieri was a pupil of Stradivarius and was the most 
 prominent member of the Mantua School. 
 
 This instrument is patterned on broad lines. The wood selection is of 
 the choicest, the back being formed of maple having a handsome figure, 
 and the top of spruce of the finest quality. It is covered with a plentiful 
 supply of lustrous, deep orange colored varnish. It is in a splendid state 
 of preservation and possesses a tone of rare quality and power. It is a 
 splendid concert instrument. 
 Price: 1 1,500 
 
 Carlo Ferdinando Landolphus, Milano, 1752 
 
 Number 42g^. This violin first came into our possession in 1892. It 
 passed into the possession of a well known amateur and at his death last 
 
Rare Old Violins [13 
 
 year was repurchased by us. Originally it came from the collection of a 
 very celebrated violin dealer of Vienna, Carl Zach, and was in the collection 
 he exhibited at the Musik Ausstellung in Vienna, in 1892, carrying off high 
 honors. Physically, it is in perfect preservation, has no cracks, is thick in 
 wood, and is strong and healthy in every way. The model is broad and 
 quite flat. The back is of very plain maple, selected for its acoustic qual- 
 ities rather than its beauty. The top is exceptionally fine. The varnish 
 is of a rich orange red color. The instrument possesses a tone of extra- 
 ordinary richness and carrying power. It is an exquisite solo violin and 
 we highly recommend it. 
 
 Price: ^1,500 
 
 Alessandro Gagliano, Naples, 1704 
 
 Number ^6gi. Alessandro Gagliano was one of the first pupils of 
 Antonius Stradivarius and was the founder of the Neapolitan School of 
 violin making. He left for Cremona and established himself there about 
 1690. He was an excellent workman and a user of the best wood and 
 varnish. 
 
 This is a choice example of his work. It is in a very fine state of pres- 
 ervation. It is of medium size and very graceful in outline. The corners 
 are long and slender, after the style of Nicolas Amati. The varnish is of a 
 golden orange color and it is full of life and luster. The tone is of extra- 
 ordinarily beautiful quality and large in volume. It is a magnificent 
 concert instrument. 
 
 Price: ^1,500 
 
 Carlo Tononi, Venice, 1720 
 
 Number 46gg. This is one of the choicest specimens of Tononi's work 
 which have passed through our hands. It came to us from a very well 
 known collection in Geneva, Switzerland, where it had been owned for 
 many years and where it was purchased by our connoisseur. It is a 
 delightful concert instrument of ample volume of tone and exquisite 
 
+] 
 
 Rare Old Violins 
 
 quality. It is extraordinarily handsome, being very striking in its general 
 appearance and varnish. The back is of one piece of very handsome curly 
 maple; the sides are of the same wood and match the back. The top is of 
 very choice, straight, even grain. The instrument is in a very fine state 
 of preservation. 
 Price: $1,500 
 
 Nicolas Gaguano, Filius Alessandro, Naples, 1735 
 
 Number /fjoo. An instrument of delightful tone and fine appearance. 
 Nicolas Gagliano was one of the foremost Neapolitan makers. This violin 
 formerly was the prized possession of one of Chicago's greatest violin 
 teachers, S. E. Jacobson, from whom we secured it. It has a very brilliant 
 tone and is highly effective on the concert stage. The varnish is very 
 handsome, and is a deep orange red. 
 Price: 1 1,500 
 
 Johannes Francesco Pressenda, Turin, 1833 
 
 Number 4794- As a violin maker, Pressenda was the most prominent 
 in his day. His instruments have always enjoyed a high reputation on 
 account of their superb tone quality and workmanship. This is a fine 
 example. It is built on broad Stradivarius lines, with wood of the choicest 
 selection, and is covered with a rich orange red varnish. It is a splendid 
 solo instrument, as the tone possesses more than usual carrying power. 
 Price: ? 1,500 
 
 Antonius Gragnani, Liburni, 1783 
 
 Number 4315- An exceptionally fine example, of large pattern, broad 
 lines and brilliant tone. Fine preservation. The back is formed of two 
 pieces of very handsome curly maple, joined at the center, having a 
 broadish figure extending slightly downward toward the edges. The wood 
 in the sides matches that of the back. The top is of straight, even grain 
 spruce. The varnish is of a brownish yellow color. It is stamped with 
 the initials of the maker under the tail button and on the shoulder button. 
 Price: $1,200 
 
Rare Old Violins [15 
 
 ZosiMo Bergonzi, Cremona, 1755 
 
 Number 3^60. Zosimo was the son of Michel Angelo Bergonzi, son of 
 Carlo. The pattern of this instrument is large and broad. It is well built 
 for tone. The back is in one piece of very handsome maple, matched by 
 that of the sides. The varnish is of a rich red color and a plentiful supply 
 remains. The instrument is strong, healthy, and is a very serviceable 
 concert violin. Its tone is large, round, full, and very brilliant. 
 Price: J 1,200 
 
 Paolo Grancino, Milano, 1673 
 
 Number 4755. Paolo was the founder of the Grancino family of violin 
 makers, of whom there were five or six working in Milano as late as the 
 end of the i8th century. Paolo worked along Amati lines. He was by 
 far the most prominent maker in Milano at the time and his instruments 
 enjoyed then, as they always have, an excellent reputation for tone, work- 
 manship, finish, and excellent material. 
 
 This violin has a very handsome back of beautiful curly maple, with 
 sides to match. The top is of spruce of medium width of grain. The 
 varnish is of a rich, deep orange red color. The tone is of magnificent 
 quality and power. 
 Price: ^1,200 
 
 ViNCENZo Panormo, Paris, 1780-90 
 
 Number 4521. This is truly a unique example of Panormo's work and 
 it is practically in the same condition as when it left his hands. The 
 model is large, broad, and very well built for tone. The varnish is of a 
 lustrous deep ruby red color and the wood selected is of the finest quality. 
 It possesses a tone of great power and brilliancy. 
 
 Panormo was one of the most successful followers of Stradivarius. He 
 was an Italian by birth, learned his art in Italy, and worked in both Paris 
 and London, 
 Price: ^900 
 
6] 
 
 Rare Old Violins 
 
 Johannes Florentius Guidantes, Bononiae, 1736 
 
 Number 46^0. Good large pattern, fine state of preservation. Large, 
 sweet, mellow tone, very responsive and well balanced. It is a very hand- 
 some instrument, the back and sides being particularly so. The top is of 
 very fine straight grain spruce. The varnish is of an orange brown color. 
 The instrument is in an excellent state of preservation. 
 Price: ^750 
 
 Amati Type, About 1670-80 
 
 Number 4yog. A splendid example of Italian workmanship. The wood 
 throughout is of the choicest quality. This violin possesses a tone of rare 
 sweetness, combined with ample power for solo work. It is an ideal instru- 
 ment for a lady's use or for a player with small hand. The varnish is of a 
 brownish yellow shade. The back and scroll we attribute to the celebrated 
 maker Cappa. 
 Price: $'joo 
 
 Andreas Castagneri, Paris, 1730 
 
 Number 46^7. Castagneri was one of the greatest of the older French 
 makers. His instruments have always occupied a very high position in 
 the estimation of French violinists and violin lovers. This is an exquisite 
 specimen in a perfect state of preservation. The varnish is of a golden 
 brown color, entirely original. The back is formed by two pieces of very 
 highly figured curly maple and the front is of spruce of the choicest variety. 
 It is a sound, healthy instrument which will give most satisfactory results 
 day in and day out. 
 Price: I650 
 
 Camillus Camilli, Mantua, 1739 
 
 Number 4751. Violins of this maker have an individuality all their 
 own. They possess a tone of exquisite sweetness combined with ample 
 power. The workmanship is not so beautifully finished as that of many 
 other Italian makers, but the wood selection is always excellent. The 
 
Plate I I 
 
 Carlo Bergonzi 
 Cremona, 1732 
 
 (THE TARISIO) 
 
 Number 4.768 — Description on page 7 
 
Rare Old Violins [17 
 
 model is built along the best lines for tone, and the varnish is superb. In 
 consequence, the tone may always be depended upon. This instrument is 
 of small model, ideal for anyone wishing an easy playing violin. The back 
 is formed by two pieces of very handsome curly maple. The front is of 
 Italian spruce of the choicest selection. The varnish is all original and of 
 a rich orange color. The instrument is in the finest state of preservation, 
 and is very highly recommended. 
 Price: ^650 
 
 Carlo Ferdinando Landolphus, Milano, 1755 
 
 Number 4754. Handsome curly maple back in one piece; sides to 
 match. Top of spruce of straight even grain, medium width. The varnish 
 is of a rich orange brown color. It is in a very satisfactory state of preserva- 
 tion, and has a beautiful, rich, mellow singing tone. 
 Vrice: $500 
 
 Antonio Zanoti, Mantua, 1730 
 
 Number 3739. Well developed model. Yellow varnish. The top is 
 of fine grain spruce and the back of flamed maple. Well preserved. Superb 
 tone. 
 Price: ^500 
 
 Jacques Boquay, Paris, 173a 
 
 Number 431 1. Medium high model. Red brown varnish. Top, wide 
 grain spruce; back, plain maple. Robust tone. Good orchestra violin. 
 Good state of preservation. 
 Price: ^450 
 
 Petrus Paulus de Vitor, About 1750-60 
 
 Number 3170. Fine old Italian instrument. Original dark brown 
 varnish. Good state of preservation. Exquisite tone. A fine solo violin. 
 Price: J450 
 
i8] Rare Old Violins 
 
 John Lott, London, i8io 
 
 Number 4781. Lott was one of the most celebrated of the English 
 makers. This violin is built on broad Stradivarius lines. Handsome curly 
 maple back and sides. Rich red varnish. Fine state of preservation. 
 Strong, brilliant, robust tone. 
 
 Price: I450 
 
 D. Nicolas, Paris 
 
 Number 478J. One of the choicest examples of Nicolas' work that 
 has passed through our hands. 
 
 Broad flat model. Excellent wood in front and back. Brownish red 
 varnish. A very strong, robust instrument. 
 
 Price: I450 
 
 Aldric, Paris, 18 id 
 
 Number 4692. Broad, flat Stradivarius pattern. Excellent wood, 
 splendid condition. Big, brilliant tone. Fine concert violin. 
 Price: ^450 
 
 Claude Pierray, Paris, 171a 
 
 Number 4447. Medium high model. Light brownish yellow varnish. 
 Top, straight grain spruce; back, handsomely figured maple. Fine state of 
 preservation. A beautiful specimen of this famous maker's work. 
 Price: I400 
 
 Leopold Widhalm, Nurnberg 
 
 Number 4778. Widhalm was the most celebrated maker of the interest- 
 ing city of Nurnberg. His instruments, invariably, are beautifully made, 
 the workmanship being finished in a most artistic manner. 
 
 This is an excellent specimen in a fine state of preservation. Golden 
 brown varnish. 
 Price: Sago 
 
Rare Old Violins [19 
 
 Petrus Paulus de Vitor, Venice, 17 — 
 
 Number 3773. Fine old Italian instrument. Medium high model. 
 Red brown varnish. Top, medium grain spruce; back, curly maple. 
 Well preserved. 
 Price: ^400 
 
 Andrea Castagneri, Paris, 1743 
 
 Number 4824. The work of Castagneri is among the very best of the 
 older French masters. This instrument is in excellent condition; handsome 
 wood and varnish, and has a mellow tone of beautiful quality. 
 Price: $400 
 
 Jean Robert Chibon, Paris, 1784 
 
 Number 4780. Broad Stradivarius model. Pale brown varnish. Fine 
 state of preservation. Large tone. 
 Price: I400 
 
 Leopold Renaudin, Paris, 1782 
 
 Number 4777. Broad Stradivarius pattern. One-piece curly maple 
 back. Straight even grain spruce top, and rich, reddish color varnish. 
 It possesses a strong tone of fine quality. 
 Price: I400 
 
 Hendrick Jacobs, Amsterdam, 17 — 
 
 Number 4177. Well developed model. Dark orange varnish. The top 
 is of even grain spruce and the back of plain maple. Excellent condition. 
 Price: ^350 
 
 Bernardel, Paris, 1861 
 
 Number 3621. Maggini model. Red brown varnish. Top, medium 
 grain spruce. Back, two pieces curly maple, inlaid. Excellent condition. 
 Splendid copy of Maggini. 
 Price: I350 
 
;o] 
 
 Rare Old Violins 
 
 Joseph Stadelman, Vienna, 1803 
 
 Number 47^5. A fine specimen of the best period of the Viennese 
 School. Model is of good size. The wood throughout is very handsome, 
 that of the back being in two pieces with a beautiful figure. The sides 
 match the back. The top is of medium grain spruce of choicest selection, 
 and the varnish is of a rich yellow brown color. This violin has a splendid 
 tone of fine quality. 
 Vrice: ^350 
 
 Leopold Widhalm, Nurnberg, 1797 
 
 Number 4450. High model. Red brown varnish. Top, straight grain 
 spruce; back, curly maple. Fine state of preservation. Excellent tone of 
 ample power. 
 Price: I350 
 
 HiERONYMUS d'AvI, BrESCIA, I7TH CeNTURY 
 
 Number 464^. Medium high type. Brown red varnish. Back, curly 
 maple, inlaid; top, fine grain spruce. Good condition. 
 Price: ^350 
 
 Michael Andreas Partl, Vienna, 1746 
 
 Number 482^. Partl was one of the very best of the Viennese School. 
 His model is medium high; his varnish a rich brownish color. This instru- 
 ment is in splendid condition and has a large brilliant tone. 
 Price: ^350 
 
 Anselmo Bellosius, Venice, 1760 
 
 Number 4828. An ideal instrument for a lady or anyone having a 
 small hand. Small flat model. Handsome wood throughout. Rich, 
 deep reddish brown varnish. Large mellow tone of fine carrying power. 
 Price: $325 
 
Rare Old Violins [21 
 
 Thomas Perry, Anglesea Street, Dublin, 1794 
 
 Number 4842. A very fine specimen of his work, and in the very finest 
 state of preservation. The wood of back and sides is of the choicest 
 description used by Perry, and the top is of spruce of fine, even grain. It 
 bears number of maker, 474. Rich, brown varnish. Strong, robust, 
 healthy tone. 
 Price: ^300 
 
 John Furber, London, 18 13 
 
 Number 4423. Medium high pattern. Dark red varnish. Top, select, 
 even grain spruce; back, handsome curly maple. Well preserved. 
 Price: %Tit^ 
 
 James Furber, London, 1770 
 
 Number 4654. Furber was one of the best English makers. This is a 
 good specimen, handsome in wood and varnish and excellent in tone. 
 Price: $275 
 
 Leonhard Mausiell, Nurnberg, 1717 
 
 Number 4452. Medium high model. Orange red varnish. Top, 
 straight grain spruce; back, plain maple. Fine state of preservation. 
 Excellent tone. 
 Price: $250 
 
 Giuseppe Odoardi, Venezia, 1690 
 
 Number 423"/. Small model. Red varnish. Top, straight grain 
 spruce. Back, flamed maple. Well preserved. Splendid tone. 
 Price: ^250 
 
 Opus Bartholomei, Venice, 1752 
 
 Number 36g6. Medium high model. Brownish red varnish. Top, 
 straight grain. Back two pieces, inlaid maple. Fine state of preservation. 
 Price: $250 
 
22] Rare Old Violins 
 
 Jean Robert Chibon, Paris, 1783 
 
 Number 418'/. Medium high pattern. Red brown color. The top is 
 of fine grain spruce, and the back of flamed maple. Excellent condition and 
 possessing tone of great brilliancy and carrying power. 
 Vrice: ^250 
 
 CORRETTA DE GaETANA GuADAGNINI, 184O 
 
 Number jyjS. Medium high model. Dark brown varnish. Top, fine 
 grain spruce; back, plain maple, shaded. Fine state of preservation. 
 Excellent tone. 
 Vrice: $250 
 
 Mattio Albani, Bolzano, 1706 
 
 Number 4713- Medium high model. Brown red varnish. Back, 
 curly maple; top, fine grain spruce. Good state of preservation. 
 Price: $250. 
 
 J. B0Q.UAY, Paris, 171 5 
 
 Number 4540. Medium high model. Brown varnish. Back, plain 
 maple; top, wide grain spruce. Fine state of preservation. 
 Price: J250 
 
 Claude Pierray, Paris, 171 6 
 
 Number 4553. Medium high pattern. Brown varnish. Back, curly 
 maple; top, medium grain spruce. 
 Price: ^250 
 
 Petrus Johannes Mantegatia, Madeolani, 1777 
 
 Number 4648. Medium high model. Light brown varnish. Back, 
 bird's eye maple; top, straight grain spruce. Good state of preservation. 
 Possesses a very sweet, sympathetic tone. 
 Price: $250 
 
Rare Old Violins [23 
 
 PiETRO Zennatto, Treviso, i686 
 
 Number 4836. Excellent model. Work in the style of Brescia. Fine 
 condition, strong in wood, and covered with rich, brownish red varnish. 
 Price: $250 
 
 Mathias Greisser, Lauten und Geigenmacher, Innsbruck, 1760- 
 70 
 
 Number 48^8. Fine, broad, flat pattern. Handsome one-piece back 
 of maple having a broadish figure. Top is of fine even-grain spruce. 
 Rich reddish brown varnish. This instrument is in fine preservation, 
 and has a large, mellow, beautiful tone. Excellent solo instrument. 
 Price: ^250 
 
 Joseph Heyman, Faecit Amsterdam, 1815 
 
 Number 48^6. Broad, Stradivari pattern. Very beautiful workman- 
 ship. Handsome wood, with rich, reddish brown varnish. Powerful, 
 brilliant tone. 
 Price: $250 
 
 Thomas Smith, London, 1759. Label Reads: "At the Harp 
 AND Hautboy, Piccadilly, London" 
 
 Number 4630. Large model; fine wood selection; brownish color var- 
 nish; perfect preservation. 
 Price: $235 
 
 Joseph Paulus Christi, Muenchen, 1734 
 
 Number 48J'/. Large, broad pattern of medium high development, 
 with one-piece back of slightly figured maple, and sides of similar figure. 
 The top is of spruce of choice selection, and the instrument is in the very 
 finest state of preservation. Has a tone of great power and brilliancy. 
 An excellent instrument for a professional musician. 
 Price: I225 
 
24] Rare Old Violins 
 
 Bartholemew Karner, Mittenwald, 1795 
 
 Number 42/6. Karner was one of the best Tyrolean makers of his 
 time. Medium high model. Wood of excellent selection. Varnish of a 
 dark reddish brown color. Strong brilliant tone. 
 Price: $21$ 
 
 James Brown, London, 18 12 
 
 Number 4/82. Stradivarius model. Beautiful wood in top and back. 
 Pale reddish color varnish. Sweet, rich tone. 
 Price: $225 
 
 Mathias Hornsteiner, Mittenwald, 1781 
 
 Number 4779. Flat model. Excellent condition. Reddish brown var- 
 nish. Tone of sweet quality and ample power. 
 Price: $225 
 
 Wilhelm Doring, Cassell, 1761 
 
 Number 4843. Violins of this maker are rare. This is a particularly 
 fine instrument of broad pattern. Sound in wood and covered with rich, 
 dark brown varnish. Has a powerful, resonant tone. 
 Price: $225 
 
 Aegedius Kloz, Mittenwald, 1792 
 
 Number 4456. Medium high model. Light orange red varnish. Top, 
 wide grain spruce; back, flamed maple. Fine state of preservation. Power- 
 ful tone of excellent quality. 
 Price: %ioo 
 
 Mathias Neuner, Mittenwald, 1750 
 
 Number 3755. Medium high model. Orange red color. Good con- 
 dition. Excellent tone. 
 Price: f20o 
 
Sanctus Seraphin 
 
 Venice, 1744 
 
 Number -fjS^ — Description on page 9 
 
 Plate I I I 
 
Rare Old Violins [25 
 
 Joan Carol Kloz, Mittenwald, 17 — 
 
 Number 4529. Broad, flat model. Red brown varnish. Back, flamed 
 maple; top, straight grain spruce. Fine state of preservation. 
 Price: J200 
 
 Gavinies, Paris, 1770 
 
 Number 4556. Medium high model. Brown varnish. Back, curly 
 maple; top, fine grain spruce. Well preserved. 
 Price: J2CX) 
 
 Italian Work 
 
 Number 4636. Stradivarius model. Brown varnish. Back, curly 
 maple; top, straight grain spruce. Fine state of preservation. 
 Price: J200 
 
 Claude Boivin, Paris, 1744 
 
 Number 46^6. Flat Stradivarius model. Brownish red varnish. 
 Handsome curly maple back. Beautiful top. Strong, full tone of brilliant 
 quality. 
 Price: $200 
 
 Joseph Antonius Laske, Prague, 1783 
 
 Number 486J. Fine Old German work in the style of Amati. Splendid 
 wood throughout, and is in an excellent state of preservation. Rich, 
 brownish yellow varnish. 
 Price: ^200 
 
 JoHANN Michael Simmann, Mittenwald, 1797 
 
 Number 4833. Fine model. Perfect preservation. Excellent measure- 
 ments, and has a rich, mellow, resonant tone. 
 Price: ?20o 
 
!6] Rare Old Violins 
 
 Christian Roth, Prague, 1792 
 
 Number 4831. Medium model. Handsome wood. Yellowish brown 
 varnish. Strong in wood. In perfect condition. 
 Price: %ioo 
 
 Gregori Ferdinand Wenger, Augsburg, 175a 
 
 Number 48^0. Good broad pattern, excellently made. Good wood in 
 fine preservation, with dark reddish brown varnish. Strong, robust tone. 
 Price: $200 
 
 F. Breton, Mirecourt, 1801 
 
 Number 4560. Stradivarius model of the flat type. Brown varnish. 
 Back, flamed maple; top, fine grain spruce. Good state of preservation. 
 Price: $175 
 
 Johannes Georgius Staufer, 1837 
 
 Number 4864. An excellent instrument, well made, of choice materials, 
 and covered with an exceptionally fine varnish. It is in perfect preserva- 
 tion, and has a rich, mellow tone. 
 Price: $175 
 
 Zacharias Fischer, Wurtzburg, 1735 
 
 Number 4747. Stradivarius model. Handsome wood in back and 
 sides. Splendid condition. Yellowish brown varnish. Strong brilliant 
 tone. 
 Price: I175 
 
 Jose del Hierro, Madrid, 1896 
 
 Number 4485. Medium high model. Dark red varnish. Back, curly 
 maple, with sides to match. Good condition and tone. 
 Price: I150 
 
Rare Old Violins [27 
 
 Thomas Perry, Dublin, 1770 
 
 Number 4841, Perry was the greatest of Irish violin makers. He made 
 many instruments, by himself and in conjunction with Thomas Wilkinson. 
 This violin was made while he was living in Kilkenny. It has a strong, 
 healthy tone, and is suitable for solo and orchestra work. It is covered 
 with very rich, amber brown varnish. 
 .Price: I150 
 
 Jacob Rayman, London, 1652 
 
 Number 44.65. Medium high model. Brown varnish. Top, straight 
 grain spruce; back, flamed maple. Fine condition and tone. 
 Trice: $150 
 
 OuvRARD, Paris, 1747 
 
 Number 4546. Flat model. Brown varnish. Back, curly maple; top, 
 medium grain spruce. Well preserved. 
 Price: ^150 
 
 Bernhard Fendt, London, 18 10 
 
 Number 4666. Stradivarius model. Red varnish of splendid quality. 
 Handsome curly maple back. Brilliant tone. 
 Price: I150 
 
 JoHANN Andreas Kambl, Muenchen, 1760-70 
 
 Number 4860. Excellent condition. Dark brownish yellow varnish. 
 Handsome wood. 
 Price: $150 
 
 Marchetti Abonddio, 1820-30 
 
 Number 4873. Italian work. Large, broad pattern. Yellowish brown 
 varnish. Excellent tone. 
 Price: $150 
 
28] Rare Old Violins 
 
 1780-90 
 
 Number 486/. Large, flat pattern, with golden yellow varnish. Hand- 
 some one-piece curly maple back, with sides to match. Possesses large, 
 broad, vigorous tone. 
 Price: J 150 
 
 Jean Baptiste Salomon, Paris, 1756 
 
 Number 4661. Large model. Handsome wood throughout. Brownish 
 varnish. Brilliant tone. 
 Price: ^145 
 
 Longman & Broderip, London, 1780 
 
 Number 481 1. Good model. Excellent wood selection. Tone of sweet 
 quality. Light brown yellowish varnish. 
 Price: I145 
 
 S. Perrin, Paris 
 
 Number 480'/. Broad, flat model. Excellent workmanship and mate- 
 rials. Orange color varnish. Strong tone. 
 Price: $140 
 
 Old English Work 
 
 Number 4814. Broad flat model. Fine appearance. Excellent materials. 
 Sweet tone. 
 Price: $135 
 
 Bronson, 1870-80 
 
 Number 48^8. A very well made instrument on the style of Joseph 
 Guarnerius, 1742. Rich, red varnish, nicely worn. Excellent wood, in 
 fine preservation, and splendid adjustment. It has had a great deal of use, 
 and is an excellent instrument for orchestra and business purposes. 
 Price: I135 
 
Rare Old Violins [29 
 
 Karl Friedrich Lippold, Neukirchen, 1796 
 
 Number 4816. Good model. Excellent appearance. Well made. 
 Reddish brown varnish. Strong, brilliant tone. 
 Price: $135 
 
 COUTOURIEUX, PJVRIS, I750 
 
 Number 4818. Broad, flat Stradivarius pattern. Strong in wood. 
 Light brown varnish. Brilliant tone. 
 Price: $135 
 
 Good Old German Work 
 
 Number 48y2. This is an excellent specimen of German violin making 
 of period of 1820-30. Stradivari model, good wood, splendid preservation. 
 Has an excellent tone. Dark reddish brown varnish. 
 Price: J135 
 
 Old French Work, 1809 
 
 Number 4810. Broad flat model. Splendid wood selection. Orange 
 color varnish. Strong, robust tone. 
 Price: $130 
 
 Andreas Borelli, Parma, 1735 
 
 Number 465"/. Sweet tone. Brown varnish. 
 Price: %\2,o 
 
 Old German, 1780-90 
 
 Number 4653. Flat model. Dark brown varnish. Back, curly maple; 
 top, medium grain spruce. Well preserved. 
 Price: ^125 
 
 Joseph Riger, Mittenwald, 1824 
 
 Number 4830. Flat model. Orange red varnish. 
 Price: ^125 
 
3o] Rare Old Violins 
 
 David Christian Hopf, Klingenthal, 1780-90 
 
 Number 4844. Exceptionally fine instrument. Brown colored var- 
 nish. In excellent condition. Strong, healthy tone. 
 Price: $125 
 
 Good Old French Work of 1800-10 
 
 Number 4862. Stradivari model. Dark red varnish. Excellent pres- 
 ervation. Strong, robust tone. 
 Price: ^125 
 
 Modern Italian, 1870-80 
 
 Number 4868. Broad Stradivari pattern. Handsome back and sides. 
 Large brilliant tone. Splendid orchestra instrument. 
 Price: $125 
 
 JOHANN StROBL, ViENNA, I750 
 
 Number 4376. Medium high model. Brown varnish. Top, wide grain 
 spruce; back, plain maple. Well preserved. Fine tone. 
 Price: ^125 
 
 Michael Boller, Mittenwald, 1765 
 
 Number 422^. Flat model. Light brown varnish. Top, straight grain 
 spruce. Back, flamed maple. Good condition. Fine tone. 
 Price: ^125 
 
 Falaise, Paris, 1804 
 
 Number 4535. Deep, high model. Orange varnish. Back, flamed 
 maple; top, close grain spruce. 
 Price: ^125 
 
Rare Old Violins [31 
 
 Leblanc, aine, Mirecourt, 1789 
 
 Number 4S38. Flat model. Brownish red varnish. Back, plain 
 maple; top, fine grain spruce. Well preserved. 
 Price: ^125 
 
 MouGENOT, Mirecourt, 1800 
 
 Number 456g. Stradivarius model. Dark orange varnish. Back, 
 plain maple; top, medium grain spruce. Good state of preservation. 
 Price: $125 
 
 Old French, Mirecourt School, 18 10 
 
 Number 4554. Flat model. Orange yellow varnish. Back, flamed 
 maple; top, wide grain spruce. Good state of preservation. 
 Price: $125 
 
 Silverio Ortega, Madrid, 1803 
 
 Number 4555. Medium high model. Brown varnish. Back, plain 
 maple; top, wide grain spruce. Good condition. 
 Price: $125 
 
 J. Charles, Marseilles, 1783 
 
 Number 46^1. Large Stradivarius model, flat pattern. Red varnish. 
 Beautiful curly maple back; straight, even grain spruce top. Strong tone. 
 Price: $125 
 
 Joseph Klein, Wurtzburg, 1720-30 
 
 Number 46'y'/. Very broad, flat model. Dark red varnish. Curly 
 maple back. Strong tone. 
 Price: $125 
 
32] Rare Old Violins 
 
 Franz Worle, 1802 
 
 Number 4805. Flat model. Excellent condition. Fine appearance. 
 Rich, reddish brown varnish. Splendid tone. 
 Price: $125 
 
 Mathias Greisser, Innsburg, 1727 
 
 Number 480J. A well made instrument. Good condition. Brown 
 varnish. Excellent tone. 
 
 Price: $125 
 
 H. J. DiLANNOY, Lisle, 1778 
 
 Number 4S13. Good old French make. Flat model. Good wood. 
 Dark brown varnish. Good tone. 
 
 Price: $125 
 
 1700-1710 
 
 Number 4815. High model. Excellent wood in back and top. Brown- 
 ish color varnish. Very sweet, mellow tone. 
 
 Price: $125 
 
 Old English Work 
 
 Number 4819. Broad, flat pattern. Excellent condition. Brilliant 
 tone. 
 Price: $125 
 
 Good Old French Work 
 
 Number 4820. Medium high model. Excellent wood. Fine condition. 
 Dark brown varnish. Sweet, sympathetic tone. 
 Price: I125 
 
Joseph Guarnerius, Filius Andreas 
 Cremona, 1710 
 Number /f.62^ — Description on page 9 
 
 Plate IV 
 
Rare Old Violins [33 
 
 Old German Work, Made About 1800 
 
 Number 4748. Medium high model. Two-piece flamed maple back. 
 Straight, even grain spruce top. Brown varnish. Excellent condition. 
 Brilliant tone. 
 Price: $125 
 
 Pairot, Mirecourt 
 
 Number 478^. Broad Stradivarius model. Excellent wood. Fine 
 condition. Deep reddish brown varnish. 
 Price: J 125 
 
 Theodore Lotz, Presburg, 1725 
 
 Number 4799. Medium high model. Fine condition. Brownish red 
 varnish. 
 Price: $125 
 
 Joseph Staub, Rothenbach, 1801 
 
 Number 4800. Broad, flat model. Reddish brown varnish. One-piece 
 back of flamed curly maple. Excellent condition. 
 Price: I125 
 
 Antonius Hornsteiner, Mittenwald, 1809 
 
 Number 4817. An excellent instrument. Flat model. Brown varnish. 
 Price: ^125 
 
 Ludovicus Moitessier, Paris, 1793 
 
 Number 4387. Flat model. Reddish brown varnish. Top, medium 
 grain spruce; back, flamed maple. Fine condition. 
 Price: ^100 
 
34] Rare Old Violins 
 
 Charles Claudot, Mirecourt, 1807 
 
 Number 4380. Broad type. Dark brown varnish. Top, straight 
 grain spruce; back, handsome maple. Fine state of preservation. 
 Vrice: $100 
 
 MiTTENWALD WoRK, 185O-60 
 
 Number 4608. Flat model. Red brown varnish. Back, plain maple; 
 top, fine grain spruce. Well preserved. 
 Price: $100 
 
 HOPF, KUNGENTHAL, IjSo-JO 
 
 Number 4616. Yellow varnish. Back, maple, with slight flame; top, 
 straight grain spruce. Well preserved. 
 Price: $100 
 
 Mathias Hirschstein, Leipzig, 1750 
 
 Number 47g8. Broad model. Excellently made. Brown varnish. 
 Price: $100 
 
 Johannes Georg Lippold, Neukirchen, 1805 
 
 Number 4801. Excellent tone. Brown varnish. Good preservation. 
 Price: |ioo 
 
 Nicolas Morlot, Mirecourt, 18 10 
 
 Number 4806. Broad Stradivarius model. Reddish brown varnish. 
 Price: $100 
 
 JoHANN Caspar Reichel, Neukirchen, 1796 
 
 Number 4808. Broad flat model. Excellent condition. Strong tone. 
 Price: $100 
 
Rare Old Violins [35 
 
 Michael Andreas Partl, Vienna, 1741 
 
 'Number 4^66. Flat model. Excellent wood selection, although plain 
 figured. Strong robust tone. Brown varnish. 
 Price: Jioo 
 
 Good Old German Work, 1780 
 
 Number 47g^. Medium model. Excellent wood in top and back. 
 Brownish varnish. Sweet musical tone. 
 Price: $ioo 
 
 Old Italian Work, 1720-30 
 
 Number 4662. Flat model. Sweet mellow tone. Dark brown varnish. 
 Price: ^95 
 
 Old English Work, 1790- 1800 
 
 Number /fSog. Flat model. Good tone. 
 Price: $90 
 
 Old French Work 
 
 Number 4791. Stradivarius model. Red varnish. 
 Price: I85 
 
 Salzard, Mirecourt, Old French, 1830-40 
 
 Number 482J. Large Stradivari model. Good wood in good condition. 
 Strong tone. 
 Price ^85 
 
 German Work, 1840-50 
 
 Number 4301. Flat model. Brown varnish. Good condition. 
 Price: $JS 
 
36] Rare Old Violins 
 
 German Work, 1780-90 
 
 Number 4586. High model. Dark brown varnish. Back, plain 
 maple; top, fine grain spruce. 
 Price: $75 
 
 German Work, 1820-30 
 
 Number 4399. Medium high model. Light brown varnish. Back, 
 curly maple; top, wide grain spruce. Good condition. 
 Price: ^75 
 
 German Work, 1840-50 
 
 Number 4579. Stradivarius model. Red brown varnish. Back, flamed 
 maple; top, fine grain spruce. Good condition. 
 Price: $75 
 
 Simon Voigt, Neukirchen, 1760 
 
 Number 4804. Good condition. Brown varnish. 
 Price: $75 
 
 German Work of 1840-50 
 
 Number 4750. Stradivarius model. Excellent condition. Strong tone. 
 Price: I75 
 
 Andreas Hoyer, Klingenthal, 1781 
 
 Number 4812. Flat model. Excellent wood selection. Brown varnish. 
 Good tone. 
 Price: ^75 
 
Rare Old Violins [37 
 
 Good Old Saxon Work 
 
 Number 4797. Flat model. Good condition. Orange brown varnish. 
 Trice: $75 
 
 Old German Work 
 
 Number 4756. Flat model, excellently made. BroWn varnish. 
 Vrice: $j^ 
 
 French Work, Made About 1840 
 
 Number 4753. Stradivarius model. Reddish brown varnish. 
 Price: ^75 
 
 Gotthard Ebner, Ratisbon, 1780-90 
 
 Number 4827. Good old German work in excellent condition. Strong 
 tone. 
 
 Price: I75 
 
 Andreas Kempter, Dillingen, 1767 
 
 *Number 4832. A fine example of good Old German work in a half-size 
 instrument. These violins are rare. This instrument is suitable for 
 child of 8 to 10 years, and is exchangeable for a larger size instrument of the 
 same value at any time, if returned in good condition. 
 Price: $75 
 
 Old Saxon, 1820-30 
 
 Number 4871. Handsome one-piece back and sides. Golden brown 
 varnish. Good strong tone. 
 Price: $75 
 
38] Rare Old Violins 
 
 Made in Saxony, 1810-20 
 
 Number 485J. Broad, flat pattern. Splendid preservation. Strong, 
 healthy tone. 
 Price: $6^ 
 
 Saxon Work, 1790- 1800 
 
 Number ^6oy. Medium high model. Brown varnish. Back, plain 
 maple; top, wide grain spruce. 
 Price: $65 
 
 German Work, 1820-30 
 
 Number 46/f/. Long, medium high model. Dark brown varnish. 
 Price: $65 
 
 Old Saxon Work, 1760-70 
 
 Number 466/f.. Flat model. Dark brown varnish. 
 Price: ^65 
 
 HoPF, Saxon Work, 1810-20 
 
 Number 486^. Hopf. Saxon work. i8io-ao. 
 Price: $60 
 
 German Work, 1830-40 
 
 Number 4582. Flat model. Brown red varnish. Good condition. 
 Price: |S6o 
 
 Hopf, Old Saxon Work 
 
 Number 4yg6. Brownish varnish. Sweet tone. 
 Price: $60 
 
Rare Old Violins [39 
 
 Good Old German Work 
 
 Number 4790. Excellent condition. Sweet tone. 
 Frice: |6o 
 
 HoPF, Made in Saxony About 1830-40 
 
 Number 4792. 
 Price: J60 
 
 Good Old Saxon Work 
 
 Number 4787. Dark brown varnish. Strong tone. 
 Frice: $60 
 
 Old German Work 
 
 Number 4802. Dark brown varnish. 
 Price: $50 
 
 Old German Work 
 
 Number 476^. Stradivarius model. Brown varnish. 
 Price: $^0 
 
 Saxon Work, 1840-50 
 
 Number 45gi. Medium high model. Light brown varnish. 
 Price: $^0 
 
 Tyrolean Work, 1850-60 
 
 Number 4826. Stradivarius model. Dark brown varnish. 
 Price: I50 
 
4o] Rare Old Violins 
 
 Old German Work 
 
 Number ^6^8. Good condition. 
 Price: $^o 
 
 Old Saxon Work, i 800-10 
 
 Number 466'^, Yellowish brown varnish. 
 Price: $50 
 
 SMALL SIZE VIOLINS 
 
 *Any violin under full size sold by us can be exchanged at any time 
 toward a full-size instrument and the full price will be allowed. 
 
 Excellent Old Mittenwald Work, 1780-90 
 
 *Number 484.0. Three-quarter size. 
 Price: ^50 
 
Rare Ou Violas 
 
 Antonius and Hieronymus Amati, Cremona, 1619 
 
 Number 2jjg. This magnificent specimen was brought to England 
 toward the end of the i8th century by Giordini, a celebrated Italian musi- 
 cian, who sold it to Lord Aylesford, an enthusiastic amateur and collector. 
 It was purchased by Hill, the elder, from Lord Aylesford's grandson. Our 
 connoisseur secured the instrument for our collection several years ago, 
 and at that time we disposed of it to complete a quartet of fine instruments 
 in the possession of an American amateur. At his death the viola again 
 came into our possession. 
 
 The model is very beautifully developed and of graceful outline. The 
 wood throughout is of the choicest selection. The back is of two pieces 
 of handsome curly maple. The top of spruce of fine grain. The varnish 
 is of a dark amber color. The instrument is in a splendid state of preserva- 
 tion, and possesses a large tone of very sympathetic quality. An ideal 
 quartet instrument. 
 Price: ?3,coo 
 
 Daniel Achaleus Stadelmann, Vienna, 1730 
 
 Number S4^7- Medium model. Orange red varnish. The top is of 
 medium grain spruce and the back of rather plain maple. Splendid state 
 of preservation. Excellent tone. 
 Price: ^200 
 
 Viola D'Amour 
 
 Number 46/p. This is an excellent specimen of old Tyrolian work of 
 the period of 1 670-80. It is in a splendid state of preservation and possesses 
 a very mellow, rich, sympathetic tone. The varnish is of a rich brown color 
 and a plentiful supply remains. The back is flat and formed by two pieces 
 of curly maple joined at the center. The top is of spruce of medium grain. 
 Price: ^200 
 
42] Rare Old Violas 
 
 JoHANN Adam Schoenfelder, Neukirchen, 1750 
 
 Number 4400. High model. Orange red varnish. Top, wide grain 
 spruce; back, flamed maple. Well preserved. 
 Price: %\qo 
 
 Duke, London 
 
 Number 4475- Long model. Brown varnish. Good condition. 
 Price: |ioo 
 
 Mitten WALD Work, 1740-50 
 
 Number 4370. Medium high model. Red brown varnish, straight 
 grain spruce; back, plain maple. Well preserved. 
 Price: $85 
 
 Cabasse, Mirecourt, 1800 
 
 Number 3613. Flat model. Orange varnish. Good condition and tone. 
 Price: %%o 
 
 Old German, 1840-50 
 
 Number 3457- Medium high model. Dark brown varnish. Top, of 
 even grain spruce, and back of curly maple. 
 Price: $7^ 
 
 German Work, 1800-10 
 
 Number 4382. Stradivarius model. Yellow brown varnish. Good 
 condition. 
 Price: $50 
 
 Old French, 1730-40 
 
 Number 3833. Medium high model. Dark brown varnish. Fine 
 condition. 
 Price: J50 
 
 Good Old Saxon Work 
 
 Number 483^. Medium size. Strong, rugged tone. 
 Price: I50 
 
Violoncellos 
 
 Carlo Ferdinando Landolphus, Milano, 1760 
 
 Number 4680. Carlo Landolphus was one of the three or four very 
 celebrated Milanese makers. He used good wood, excellent varnish, 
 finished his instruments with care, and they are today among old celebrated 
 Italian instruments. 
 
 This cello is built on broad Stradivarius lines, flat model with low 
 arching, and is in an exceptionally fine state of preservation. It has ample 
 wood in both back and top, and is covered with an exceptionally fine quality 
 of lustrous light orange red varnish. 
 Price: l4,ooo 
 
 Carlo Antonio Testore, Milano, 1739 
 
 Number 4184. Violoncellos by old masters which can be termed per- 
 fectly preserved are exceedingly rare. Violoncellos are subjected to far 
 greater dangers than violins. As they are usually carried in bags there is 
 always the likelihood of a break in either the top, back, or sides from acci- 
 dents while the instruments are carried. 
 
 This Violoncello is a fine specimen of the work of its maker — we have 
 never seen a finer one — and is in an exceptional state of preservation. It 
 has all its original wood, has no cracks in the top with the exception of a 
 small check at one of the F holes, and no cracks in the back or sides. It is 
 a very handsome instrument, the varnish being of rich dark orange color. 
 It possesses a grand mellow tone of great carrying power and makes an 
 ideal instrument for concert work, quartet or home playing. 
 Vrice: ^3,000 
 
 Francesco Ruggeri, Cremona, 1695 
 
 Number 42^6. Among the Violoncellos of Cremonese makers those of 
 Francesco Ruggeri rank exceedingly high. 
 
44] Violoncellos 
 
 This instrument is built on broad lines. The wood selection, especially 
 in the top, is very fine. The back is of maple cut on the slab, such as 
 Ruggeri was wont to use. It possesses a tone that is notable for its rich- 
 ness of quality. The varnish is of a rich ruby red color. The instrument 
 is strong and healthy in wood. 
 Price: $2,500 
 
 Giovanni Baptista Grancino, Milano, 1686 
 
 Number 470'/. This is the work of one of the great Italian masters. 
 Its tone is of great richness, it is deep in color, very soft and flexible, and 
 unusually eflFective. The varnish is dark red in color. The wood, although 
 plain in figure, is of exceptional acoustic quality. It has a very antique 
 appearance, characteristic of the period and place in which it was made. 
 It is a splendid concert instrument. 
 Price: $2,000 
 
 Jean Baptiste Vuillaume, Paris, 1869 
 
 Number 4185. This notable example of Vuillaume's work formerly 
 belonged to a quartet of instruments which he made to the order of a 
 Cincinnati gentleman and which was kept intact for many years. This 
 cello is a striking example of French artistry. It belongs to Vuillaume's 
 best working period when he was producing those wonderful instruments 
 which have been the marvel and envy of modern makers. It is built on 
 broad Stradivarius lines, and is covered with exceptionally lustrous rich 
 orange red varnish. The wood in the back, sides, and front is very hand- 
 some. It possesses a tone of tremendous power and resiliency. 
 Price: $1,600 
 
 Johannes Tononi, Bononae, 1700 
 
 Number jggS. As an example of Tononi's work this can hardly be 
 excelled. It is unique in its excellent preservation for it is practically as 
 sound and strong as when it was made. 
 
Violoncellos [4,5 
 
 Tononi was the most prominent of the Bononae makers. We recently 
 sold a violin of his make for $2,500. This instrument, together with the 
 cello, are as fine examples of his work as we have seen. 
 
 This cello possesses a tone of rare quality, exceedingly rich and mellow, 
 and at the same time round and full. 
 Price: $1,200 
 
 Claude Pierray, Paris, About 1720 
 
 Number 470J. In France the instruments of Claude Pierray and 
 Jacques Boquay, who are the two most prominent members of the French 
 School, rank with the best of the second and third class Italian makers. 
 This is because their work is known there and is not well known to the 
 American public. However, year by year such names as these and those 
 of Castagneri, Guersan, and others, are becoming familiar to American 
 buyers. Good examples of their work are recognized now as being far 
 superior to ordinary Italian instruments. 
 
 With the exception of the scroll this is a fine example of Claude Pierray's 
 work. The model is large and broad; it is in an excellent state of preserva- 
 tion and the materials used throughout are of very fine quality. It has a 
 large resonant tone. 
 Price: 1 1,200 
 
 Giuseppe Gagliano, Naples, 1785 
 
 Number 4716. Broad Stradivarius pattern, handsome wood through- 
 out, deep orange red varnish. This instrument is in a very fine state of 
 preservation, has no cracks in the top, which is noteworthy. The varnish 
 is of a dark reddish brown color. It possesses a very powerful robust tone. 
 Excellent orchestra and all around business instrument. 
 Price: $1,000 
 
 Nicolas Claudot, About 1800 
 
 Number 4704. Large Stradivarius pattern, handsome wood, dark 
 brown varnish, excellent preservation, strong robust tone. 
 Price: $250 
 
46] Violoncellos 
 
 Old Mittenwald Work, Date 1740-50 
 
 Number 4518. Good model, handsome wood, very sweet tone of fair 
 volume. Excellent instrument for home use. 
 Price: J200 
 
 Good Old English Make, About 1800 
 
 Number 4764. Small model. Good work throughout. Excellent pres- 
 ervation. Orange color varnish. 
 Price: $125 
 
The Violin Bow 
 
 A HE VIOLIN BOW as it is known today did not begin to assume 
 its present form until about the beginning of the i8th century. The bow 
 as used by early violinists, Corelli, for example (born 1653, died 1713), was 
 a clumsy affair, something like the modern double-bass bow. A few years 
 later during Tartini's time (born 1692, died 1770), it had developed to the 
 extent of being made lighter and the first attempt had been made to give 
 the stick a variety of tension by means of a screw. 
 
 The importance of the bow is not fully realized by most players, for it 
 is safe to say that without the bow as developed by Francois Tourte, and 
 as it is known today, the modern symphony orchestra would not have 
 been developed. 
 
 The late Theodore Thomas, founder of the Chicago Symphony Or- 
 chestra and one of the greatest conductors this country has known, wrote 
 us on October 19, 1903, in a letter about the Hawley Collection, as follows: 
 "It was, in particular, Stradivarius who created a tone which appealed to 
 musicians, and Francois Tourte, who invented a bow which made the 
 modern orchestra with all its shading and nuances — and a Beethoven — possible. 
 Without these instruments and the Tourte bow invented over a century 
 later, the music of today would have been developed on altogether different 
 lines." 
 
 Francois Tourte was to the violin bow what Stradivarius and Joseph 
 Guarnerius were to the violin, and even more, for he found the bow as 
 
48] Violin Bows 
 
 Caspar da Salo and Maggini found the violin, in an undeveloped state, 
 and by years of careful experiment finally developed it to its present perfect 
 shape. No more intimate relationship ever existed than that of violin 
 and bow. 
 
 Francois Tourte was born in the year 1747 in Paris and died in 1836. 
 He worked at his bench, as did Stradivarius, almost to the last of his long 
 and useful life. Aided by Viotti, who was also a student of violins and 
 bows, as well as one of the greatest of violinists, and other prominent 
 violinists of his time, Tourte developed a system of bow making which has 
 never been equalled. He found the bow a short arched affair which had 
 been handed down from the time of the rebec, viol, and other mediaeval 
 instruments, lengthened it to its present proportion, invented the frog and 
 screw, and marvelous to relate, invented a method of construction which 
 has remained a secret ever since, for a Tourte bow draws a larger and more 
 flexible tone than is possible with a bow of any other make. 
 
 Paris became the world center of violin bow making, a distinction 
 which it retained up to a comparatively recent time. The bows of Francois 
 Tourte have always commanded comparatively high prices and in recent 
 years, owing to their great scarcity, have rapidly risen in value until it is 
 not uncommon that as much as $500 to ^1,000 be paid for fine specimens. ' 
 
 The keenest competition was created in Paris by reason of a great 
 number of makers who followed Tourte, all of them copying him with the 
 endeavor to find his secret, yet notwithstanding the efforts of bow makers 
 of England, Germany, Holland, and other countries, Tourte remains today 
 supreme, as ever, for no one has as yet been able to match his skill. A 
 good Tourte bow draws from a good violin a larger and richer tone than 
 
Violin Bows [49 
 
 any other and it is this fact, together with their ease of playing that has 
 
 made Tourte's reputation what it is. 
 
 The following bows are especially choice examples of their makers' 
 work: 
 
 Dominique Pecatte, Paris 
 
 Number /j/. Round stick. Dark color. Heavy weight. 
 Price: ^75 
 
 N. F. VoiRiN, Paris 
 
 Number 158. Round stick. Medium color. 
 Trice: $75 
 
 LupoT, Paris 
 
 Number 237. Round stick. Light chocolate color. Original mounting. 
 Price: $75 
 
 Francois Lupot, Paris 
 
 Number i^g. Round stick. Medium color. 
 Price: ^65 
 
 J. Tubes, London 
 
 Number 185. Handsome octagonal stick. Chocolate color. 
 Price: $65 
 
 Jean Baptiste Vuillaume, Paris 
 
 Number 18/. Round stick. Chocolate color. 
 Price: ^65 
 
 Jean Baptiste Vuillaume, Paris 
 
 Number 24.0. Round stick. Light chocolate color. Silver mountings. 
 Price: $65 
 
5o] Violin Bows 
 
 VuiLLAUME, Paris 
 
 Number 212. Round, light brown stick. 
 Price: ^60 
 
 Nicolas Francois Voirin, Paris 
 
 Number 26"/. Octagonal stick. Chocolate color. Original frog. Fine 
 playing bow. 
 Price: $60 
 
 Jean Baptiste Vuillaume, Paris 
 
 Number 242. Round stick. Chocolate color. Silver trimmed frog. 
 Price: ^55 
 
 Adam, Paris 
 
 Number 206. Dark red brown stick. 
 Price: I50 
 
 Bausch, Leipzig 
 
 Number 2j2. Round stick. Chocolate color. Original mountings. 
 Good playing bow. 
 Price: JS50 
 
 Copy of Tourte, Made About 1860-65 
 
 Number 280. Octagonal stick. Ebony frog, pure silver mounted. 
 Dark chocolate color. Fine playing bow. 
 Price: I50 
 
 N. F. VoiRiN, Paris. 
 
 Number //j". Excellent round red stick. 
 Price: ^45 
 
Violin Bows [51 
 
 Maire, Paris 
 
 Number 20'/. Round, chocolate colored stick. Good playing bow. 
 Price: $45 
 
 Jean Eury, Paris, About i8ao 
 
 Number 24"/. Round stick, dark color, ebony frog, pure silver trimmed, 
 silver button. 
 Price: %\o 
 
 Maire, Paris 
 
 Number 208. Round, chocolate colored stick. Rather heavy. 
 Price: $4.0 
 
 Maire, Paris 
 
 Number 214. Round, chocolate colored stick. 
 Price: J40 
 
 Old French 
 
 Number 2y6. Round stick. Dark chocolate color. 
 Price: %\o 
 
 CELLO BOWS 
 
 Henri, Paris 
 
 Number ijj. Round stick, chocolate color, fine wood. 
 Price: ^75 
 
 N. F. VoiRiN, Paris 
 
 Number 204. Octagonal stick, good weight. Strong ebony frog, silver 
 trimmed. 
 Price: ^65 
 
 VuiLLAUME, Paris 
 
 Number 222. Round stick, chocolate color, medium weight. 
 Price: ^50 
 
ARTISTIC VIOLIN, VIOLA AND 
 VIOLONCELLO BOWS 
 
 Made byW. E. HILL & SONS, London 
 
 We take pleasure in announcing that we have been appointed by 
 Messrs. Wm. E. Hill & Sons, of London, their accredited agents for their 
 own make of violins and bows. 
 
 As violin bow makers, Messrs. Hill & Sons are recognized as absolutely 
 preeminent. Among the great artists of the day the artistic quality of 
 these bows is fully recognized and more of them are in use in the hands of 
 celebrated players than of any other make. The preeminence of the bows 
 of Messrs. Hill & Sons, is due to several important conditions which exist 
 with them. One of the principal of these is the fact that they started in to 
 manufacture the best bows that could possibly be made, regardless of cost. 
 To them the finest examples of Francois Tourte's bows were always avail- 
 able as models. Another very important feature is the possession by them 
 of a large and aged stock of the choicest Pernambuco procurable. Per- 
 nambuco suitable for violin bows is a very difficult wood to procure; thor- 
 ough seasoning is an absolute requisite and the wood of which these bows 
 are made is seasoned ten years, by natural processes, before use. These 
 conditions, combined with exceptional skill in the matter of workmanship, 
 result in the production of the finest line of bows which have come from 
 any maker since Francois Tourte. 
 
 It is a well known fact that two articles radically different in quality 
 cannot be made in the same shop side by side. Every detail receives 
 
Gi447 G1438 G1436 G1434 G1432 G2664 G1392 G1387 
 
 Plate V 
 
Violin Bows [53 
 
 minutest attention. The screws, often considered matters of small impor- 
 tance, are especially made from case hardened steel and are very durable. 
 The following bows are all made in the shops of Messrs. Hill & Sons, 
 near London, and differ in price according to the quality of materials, 
 workmanship and the style of frogs used. The cheapest bows of the line, 
 though plain in design, possess exceptional playing qualities. 
 
 Hill's Violin Bows 
 For illustrations, see Plate V. 
 
 Number G1448. Same description and illustration as No. G1447, but 
 mounted with ebony frog trimmed in solid gold and with gold tip. 
 Price: tjS 
 
 Number Gi^^y. Pernambuco, very finest quality. Octagonal stick. 
 Frog of tortoise-shell. Sterling silver trimmed. Pearl slide and pearl dot 
 in sides, set in inlaid silver circle. Sterling silver screw tip with case- 
 hardened screw. Whalebone thumb grip and wrapping. Sterling silver 
 tip plate. Only most carefully selected Pernambuco goes into these sticks. 
 This means that only one out of hundreds of Pernambuco sticks is suitable. 
 These bows are counterparts of the best work of Francois Tourte. They 
 have the greatest possible tone producing power and are the very best 
 that modern skill and ingenuity can produce. 
 Price: $55 
 
 Number G1444. Pernambuco, finest quality. Round stick. Medium 
 shade. Ebony frog. Pearl dot in side of frog, set in silver circle. Pearl 
 slide. Octagonal shaped silver button. Case-hardened screw. Silver 
 head plate and tip. Whalebone thumb grip and wrapping. This bow is 
 representative of the most artistic modern workmanship and possesses 
 large tone drawing power. It is a bow intended for an artist's use. 
 
 Price: I40 
 
54] Violin Bows 
 
 Number G1445. Same description as No. G1444, but octagonal stick. 
 Frice: $40 
 
 Number G14.38. Pernambuco, exceptionally fine quality. Exquisite 
 workmanship. Dark chestnut color. Ebony frog. Silver mounted. 
 Pearl dot in side, set in silver circle. Pearl slide. Octagonal shaped 
 silver button with pearl dot set in ebony ring. Case hardened screw 
 and eye. Silver tip plate. Leather thumb piece and grip. This is a 
 bow for artists' use. 
 Price: $25 
 
 Number Gi/f.36. Pernambuco, extra fine quality. Round stick. Dark 
 chestnut color. Ebony frog, Dodd model. Pearl slide. Silver trimmed. 
 Octagonal shaped silver screw button with pearl dot set in ebony ring. 
 Case-hardened screw and eye. Silver tip plate. Magnificent playing 
 stick, beautifully balanced, and one which draws a large tone. 
 Price: %lo 
 
 Number Gi^j^. Pernambuco, excellent quality. Round stick. 
 Medium dark color. Ebony frog. Full lined. Silver button with pearl 
 dot and ebony ring. Sterling silver head plate and tip. Leather thumb 
 piece. 
 Price: ^15 
 
 Number G1432. Fine quality. Round Pernambuco stick. Medium 
 color. Ebony frog. German silver trimmed. Pearl slide. German 
 silver tip plate. Excellent playing bow. 
 Price: %\o 
 
 Number G14JO. Round Pernambuco stick. Medium color. Ebony 
 frog. Full lined. German silver mounting. 
 Price: $% 
 
Violin Bows [55 
 
 Hill's Viola Bows 
 
 Number G2664. Pernambuco. Extra fine quality; round stick; 
 medium shade; ebony frog, sterling silver trimmed; pearl slide and pearl 
 dot in side, surrounded by inlaid silver circle; sterling silver screw button 
 with case hardened screw, (For illustration see Plate V.) 
 Price: ^35 
 
 Number G2662. Pernambuco, fine quality; round stick; medium shade; 
 ebony frog, Dodd model, silver trimmed and silver lined; pearl slide; 
 octagonal shaped silver screw button with pearl dot in end surrounded by 
 ebony ring; case hardened screw; whalebone wrapping; German silver bow 
 tip; magnificent playing bow. 
 Price: ^25 
 
 Number G2660. Pernambuco, round stick, dark chestnut color, ebony 
 frog, German silver mounted; pearl slide with pearl dot in side, octagonal 
 shaped screw button with pearl dot surrounded by ebony ring. 
 Price: $12.50 
 
 Hill's Violoncello Bows 
 
 Number Gijg2. Pernambuco, very choicest quality; round stick; 
 medium dark color; ebony frog, sterling silver trimmed; pearl slide and 
 pearl dot in side surrounded by inlaid silver ring; octagonal shaped button 
 of sterling silver; case hardened screw; sterling silver plate and bow tip. 
 (For illustration see Plate V.) 
 Price: $35 
 
 Number Gij8g. Pernambuco, extra fine quality; medium reddish color; 
 ebony frog; silver ferrule and lining; pearl slide; octagonal shaped silver 
 button with pearl dot set in end, surrounded by ebony ring; leather thumb 
 grip; silver tip. Bow of splendid playing qualities. 
 Price: $25 
 
 Number G138J. Pernambuco, fine quality; round stick; dark rich color; 
 ebony frog; pearl slide; pearl dot on sides; German silver ferrule and lining; 
 octagonal German silver button and pearl dot set in end surrounded by 
 ebony ring. (For illustration see Plate V.) 
 Price: $15 
 
Violin and Violoncello 
 Repairing 
 
 A HE restoration of fine old violins is one of the very fine arts. Many 
 can make good new violins, but few have the necessary experience for the 
 proper repair of valuable old instruments. 
 
 This is a branch by itself, separate and distinct. It is safe to say that 
 more valuable Cremonas have been butchered and ruined by unskilful 
 treatment at the hands of so-called repairers than by any other agency, 
 including loss by fire and accident. 
 
 We maintain a corps of repairers than which there is none superior in 
 Paris, Berlin or London. It is to the hands of such artists only that we 
 can entrust our own valuable instruments, not to speak of those sent us by 
 our clients. 
 
 We have for many years been very extensive buyers of old violins. 
 These are purchased, for the most part, in an unrepaired condition, and 
 require complete rebuilding before being offered for sale. This applies to 
 the finest old masterpieces of Cremona, worth in the thousands, as well as 
 to those of old Saxony, which would be sold for fifty dollars. 
 
 The most valuable specimens in America have passed through our shop. 
 The list includes some of the most celebrated violins in existence. This has 
 given us an experience which has its effect on the work we do, and we can 
 truthfully say, without boasting, that nowhere else in America can similar 
 results be obtained. 
 
Repairing [57 
 
 We furnish free estimates of the cost of repairing violins sent in for that 
 purpose. Those which are found not worth the expense are returned, or a 
 letter setting forth the condition is sent to the owner. 
 
 There are many good old instruments lying idle in garrets and closets, 
 which, in their present condition, are worth very little, because they cannot 
 be played. For the lack of proper regulation they are, for all practical 
 purposes, worthless. With properly adjusted bar, blocks, linings, neck, 
 fingerboard, strings, etc., they immediately have a musical and commercial 
 value often away beyond the idea of their owners. They then become 
 valuable to a violinist who "knows." They then have power, evenness and 
 brilliancy, and they respond to the bow readily and satisfactorily. The 
 violin which previously was an inanimate object has become, through the 
 skill of the repairer, possessed of life and song — a joy to those who know 
 how to bring forth its manifold possibilities. 
 
 Violins which have been broken in accidents, sometimes literally reduced 
 almost to splinters, often are restorable. If not too far gone, they may be 
 so repaired as to retain their tone. It often happens that they are better 
 than ever, which, however, is not due to the fact of their having been 
 broken to splinters, but to the skill of the repairer who is able to procure 
 such results. Obviously, if he had had the same violin to adjust before it 
 was broken, it would have turned out very much better still. 
 
 Estimating Cost of Repairing 
 
 If a violin be a very old one, and has never been artistically repaired, it 
 will probably require a complete going-over. This, as a rule, includes the 
 following: A new neck grafted in the old head, regraduation of top and 
 
58] Repairing 
 
 back, new bass-bar, new linings, blocks, regluing of all cracks, fingerboard, 
 bridge, tailpiece, strings, etc. Often corners and edges have to be replaced, 
 sound-holes rebuilt and varnish retouched; so that the expense may be 
 anywhere from I25.00 to ^75.00 — depending on the character and value 
 of the instrument, and time required; for, obviously, the care and 
 responsibility of restoring a fine Cremona is far greater than where an 
 ordinarily good old violin is concerned. 
 
 The better the violin, the better must be the adjustment to get com- 
 mensurate results. 
 
 Cost of Repairing 
 
 Where only a new bar and minor adjustments are necessary, the expense 
 entailed for repairs and adjustment is from $15 up. If the first bar is not 
 satisfactory in its results, we put in another at our own expense until it is 
 right. Obviously there is a great difference in bass-bars. You may pay 
 someone $5 to put in your violin a bar which does it no good whatever, but 
 instead much harm. It is not a question of the bar being new, but of its 
 being right. 
 
 All Our Work is Fully Guaranteed 
 
 This also applies to the tone of old Italian violins which have been sold 
 through this department in the past five years, which, if they have become 
 deficient in tone, indicating that their bars are too light or otherwise faulty, 
 will be repaired free of charge for the bar, post, etc.; charges being made 
 only for such other adjustments as may be found necessary. 
 
Repairing [59 
 
 Charges for Violin Repairing 
 
 New bridgCj fitted and adjusted $ °-7S 
 
 New sound-post, made, fitted and adjusted .75 
 
 Resetting old post and adjustment .50 
 
 Newfingerboard, best ebony, depending on value and adjustment j to 
 
 I 5-00 
 New set of pegs, ebony or rosewood i . 50 
 
 f 3-00 
 Bushing peg-holes and fitting set of pegs < to 
 
 I 5-00 
 
 New scroll and neck, pegs and fingerboard varnished to match J ' ' , 
 
 body of instrument 1 
 
 ^ I up 
 
 (10.00 
 to 
 15.00 
 
 f 1 .00 
 Regluing top and back I to 
 
 I 5-00 
 
 Gluing cracks in top or back < 
 
 1 .00 
 up 
 
 10.00 
 Bass-bar, new bridge and graduation -j to 
 
 15.00 
 
 String-nut -75 
 
 New tailpiece and fitting .50 
 
 Estimates for general repairs of old violins are furnished after an exam- 
 ination of the instruments. The cost varies according to the work neces- 
 sary and the quality of the violin. 
 
6o] Repairing 
 
 Violin Bow Repairing 
 
 Rehairing ?0-75 
 
 Pure silver wrapping i . oo 
 
 Other silvered wrappings .50 
 
 Leather wrapping . .35 
 
 New ivory tip made .75 
 
 r 1.50 
 
 New frog and repair < to 
 
 I 5-00 
 
 Violoncello Repairing 
 
 Grafting neck in scroll, including fingerboard . .... ^30 . 00 
 
 New scroll and neck, including fingerboard .... 28 . 00 
 
 Set of new pegs, fitted ... 3 . 00 
 
 Fingerboard, best ebony, bridge and adjustment 10.00 
 
 Bridge fitted 2 . 50 
 
 Bass-bar and adjustment . . . . < 
 
 I up 
 
 Bushing peg-holes 5 . 00 
 
 Gluing cracks < 
 
 Rehairing cello bow .75 
 
 Double-Bass Bow Repairing 
 Rehairing ^i.oo 
 
Fox Brand 
 Symphonic Covered Strings 
 
 Unqualifiedly the World's Best 
 
 Our string maker held, for many years, the same position with a well known 
 Philadelphia manufacturer and dealer (now deceased), during which time his work 
 achieved an international reputation with the world's best artists and soloists. 
 After the death of his former employer, and the consequent passing of the 
 business into other hands, we arranged with him to manufacture for Lyon & Healy 
 exclusively. Since that time many improvements in methods of manufacture 
 have been made and we now pronounce the Fox Brand Strings absolutely the finest 
 that have ever been brought to our notice, and the only wound strings perfectly 
 adapted for use on the rare old instruments listed in this catalog. 
 
 Fox Brand Symphonic Wound Strings are made from the finest selected and 
 specially prepared Italian gut, wound as stated, with silver plated copper, sterling 
 silver or pure gold wire, in such a manner as to make them absolutely free from 
 rattling, against which they are unreservedly guaranteed. A special feature of 
 these strings is the silk undercover, which is used on strings which are so listed. 
 This is spun on the gut before the wire, and acts not only as an absolute pre- 
 ventive of rattling, but also protects the gut from climatic changes. 
 
 No. VIOLIN G STRINGS pXald 
 
 ?0.32 
 
 .42 
 
 •75 
 1. 00 
 2.00 
 
 4200!/^. Covered with silver plated copper wire, double wound .... 
 4201 J^. Covered with silver plated copper wire, triple wound, silk undercover 
 
 5202. Covered with pure silver wire, double wound, polished 
 
 5204. Covered with pure silver wire, triple wound, polished, silk undercover 
 6220. Covered with pure gold wire, triple wound, polished, silk undercover 
 
 VIOLA G AND C STRINGS 
 
 5206. G string, covered with pure silver wire, triple wound, silk undercover . .' 1.25 
 C2o8. C string, covered with pure silver wire, triple wound, polished, silk undercover i .50 
 
 VIOLONCELLO G AND C STRINGS 
 
 421 1 . G string, covered with silver plated copper wire, triple wound, silk undercover i .00 
 
 421 5. C string, covered with silver plated copper wire, triple wound, silk undercover 1 .25 
 
 5212. G string, covered with pure silver wire, polished, triple wound, silk undercover 3.00 
 
 5216. C string, covered with pure silver wire, polished, double wound, silk undercover 3.50 
 
 Our catalog of choice modern Violins, Violas, Violoncellos, Double Basses and 
 accessories of the better class sent on request. 
 
The Hawley Collection 
 
 A BooK/or the Violin Lover 
 
 This handsome volume de luxe should be in the library of every music 
 lover, whether amateur or professional, both on account of the marvelously 
 accurate and beautiful reproductions, in their natural colors, of the cele- 
 brated violins of which it principally deals, and because of the information 
 in general which it contains. 
 
 It contains an introductory by the late Theodore Thomas, who was an 
 enthusiastic lover of violins. It is written throughout in a most interesting 
 strain, covering the birth of the violin and its development in Brescia, 
 Cremona, Milan and other Italian centers, as well as its career in Ger- 
 many and France. The book is embellished with life-like pictures in their 
 natural colors of the front and back of the King Joseph Guarnerius, the 
 Jarnowick, the Earl and the Healy Stradivarius, as well as famous speci- 
 mens of Bergonzi, Guadagnini, Maggini, Roggeri and others. Twelve 
 halftone plates show the arching, sides, etc., of the King Joseph, and a 
 table of measurements of the violins in the Hawley Collection, as taken by 
 Mr. A. H. Pitkin, of Hartford, Conn., is included. 
 
 The book is handsomely bound in boards of soft gray color or in full 
 cloth, as desired. It is printed on egg-shell paper, in beautiful old-style 
 antique letter, lo-point in size, with initials in red. It contains 105 pages, 
 24 colpr plates and 20 engravings. 
 
 The edition is limited to 2,000 copies, a small number remaining unsold. 
 After this edition is exhausted it will be impossible to obtain more, as the 
 plates have been destroyed; therefore, anyone desiring to possess a copy 
 should act promptly. 
 
 Prices: In Board Binding, Cloth Back, in Case ^5.00 
 
 In Full Cloth 7 . 50