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Catalogue of Old Master Violiris
^ Added
to -wHicH is a sHort Historical sketcH of tHe various -violin scHools, and a list
of tHe principal makers,
including an article upon violin construction and repairing', also a list of cHoice music for tHe violin, j^ j^ ^^
>^
SHERMAN, CLAY '*
Cor.
(Ql
MUSIC DEALERS Kearny ar^d Sutter Sts. «San Francisco, Cal.
CO
r|
u
AiU^L
MUStC LIBRARY UNIVERSITY
Of CALIFORNIA BERKELEY
^'C^f^tji^
)
-S^/c^y
ci
1-^
0\ir Professional Catalogtre Containing a Complete List of New Violins,
Bows,
String's, Etc.,
Upon
Mailed
A.pplication.
•
•
e
•«
PREFACE SHERMAN,
&
Clay
Co. have had so
from their customers
many
calls
for really authentic old
instruments that the necessit}^ arose of adding to their large stock of violins a fine collection
of old instruments.
These were picked up
Europe by
their
own
in the various violin centers of
buj^ers,
were carefully
selected,
and
are of undoubted age and merit.
Sherman, Clay possible, to
&
Co.,
have a collection that would be representative
of the various schools as
Cremonese, English,
have endeavored as near as
etc.
Neapolitan,
known
viz:
Brescian,
French,
German,
up the
collection
to-da}^,
Venetian,
—the instruments making
varying in price from ^50.00 upwards.
lvi9538S
Antonius Str^diuarius Cremonenfis
Faciebar Anno
I
(^
17
^
Origin of tKe Violin A
SHort Historical iSKetcH of tHe Various Violin ScHools, ^VitH a
I^ist
of
tHe Principal MaKers. The double bass was the first of the violin now known, followed by the violoncello, the
family as viola
and
about 1540, and so great was the genius of these early makers, that the violin, as originated by them, has not to the present day been improved upon, in
lastly the violin
work of Stradivarius and others has never been equaled by modern makers for their high finish, beauty of varnish and purity of tone. fact the
QR^qilS' r c
t
r
c
c
c
c
fc
C
C
C c
c
OF THK VIOLIN
<
' (
Caspar da Saloin
Brescia
Gasparo da Salo, Brescia, 1 542-1620, is the first known maker of violins, though this distinction is claimed by German writers for a German at an earlier period and also b}^ French writers for a Frenchman, 5''et at the present date, no violins earlier than those made by Gasparo da Salo are known to exist, and very few. of his. Taking then Gasparo da Salo as the first maker of violins, we have in succeeding years Giovanni Paolo Maggini, Brescia, 1590- 1640, a pupil of da Salo's. Contemporaneous with the Brescian makers were those of Cremona, where the violin industr}^ reached such a degree of perfection, that it has excited the wonder of the civilized world to the present day. Andreas Amati, Cremona, 1 530-1 580, was the founder of the Cremonese School of Violin Makers; his sons, Antonius and Hieron3^mus, 1570- 1635, succeeded their father in business, it then descending to Nikolaus Amati, Nikolaus Amati was 1 596- 1 684, the son of Hieronymus. the greatest maker of this famil}^, his work being hardly second to that genius of them all, Antonius Stradivarius, 1
644-1 737,
who was
his
pupil and
worked with him
ORIGIN OF THK VIOLIN years,
several
as
did also
Henry
1690- 1740.
Jacobs,
Giovanni Baptista Ruggeri Jacob Stainer, 162 2- 1680; Paolo Albani, 1630-1650; Francesco Ruggeri,
1
670-1 720; Andreas
Guarnerius, 1625-1693; C. Testore, 1690-1720 and others.
The
great makers
reall}^
of
the
Cremonese School
following Amati, were Andreas Guarnerius,
1
625-1 693;
Francesco Ruggeri, 1 670-1 720; Guiseppe Guarnerius, 16701730; Joseph Antonio Guarnerius; 1683—; Francesco Stradivarius,
1671-1743;
Omobonu
Stradivarius,
1679-
1742; Lorenzo Guadagnini, 1690- 1742; Pietro Guarnerius, Giovanni Baptista Ruggeri, 17 Giovanni 1 690-1 725;
—
Baptista Guadagnini, 1747;
Michael
Storioni,
1
1711-1786;
Angelo
;
Carlo Bergonzi,
Bergonzi,
1730- 1760;
1716-
Lorenzo
769-1 799.
While the
violin industry reached its greatest perfec-
Cremona, there are quite that can justl}'' claim having
tion in the small Italian city of
a
number
of other cities
had makers whose work, in man}^ respects, can be classed as being of the same standard as the best of the Cremonese makes; this is also true to a certain extent of France and Germany. Taking then, the Italian cities first, we have from Naples Alessandro Gagliano, 1650- 1725: Nicolaus Gagliano, 1695- 1740; Gennaro Gagliano, 17001750; Ferdinando Gagliano, 1 740-1 780; Guiseppe GagFrom Venice Domenico Montagnana, 1700liano, 17
—
—
:
1740; Sanctus Seraphin,
—
1710-1748; Francesco Gobetti,
1680-1720; V. Castro, 1680-1720;
Anselmo
Bellosio, 1720-
ORIGIN OF THE VIOLIN
iO
1780: 17
—
;
From Bologna
— Carlo
Carlo Antonio Tononi,
Tononi, Giovanni Tononi, 17 16-1740:
From Milan
Paola Grancino, 1665- 1690; Giovanni Paola Grancino,
Guiseppe Testore, 1690-1720; Carlo Antonio Testore, 1700- 1730; Paola Antonia Testore, 1 7 10-1745; Carlo Ferdinandus lyandolfi, 1730- 1760; David Techier, Rome, 1680-1730; Alexander Dulfenn, Livorno, 1700; Camillas Camilli, Mantua, 1700- 1740; Vincenzo Panormo, Palermo, 1740-18 13; Tomasso Carcassi, Florence, Turin, 17771 740- 1 720; Giovanni Francesco Pressenda, 1696-1735;
Carlo
1854-
Nicolas Lupot
Lulhier,
Rue Croix-des-Pelils- Champs,
The French
a Pans.j
school of violin makers had quite an in-
upon the violin industry, as their natural artistic them quite earl}^ to perceive the superiority^ of the instruments of the early Italian makers, and so successful were they in following the models as laid down by the best of the Cremona and other schools, that the instruments as turned out by them, rank with the very finest in selection of wood, and beauty of outline.
fluence
taste led
6RIGIN OF THE viotm
The
ti
French makers were: Jacques Boqua}^ Paris, 1700-1730; Claude Pierray, Paris, 1700-1725; Jean Vuillaume, JMirecourt, 1700- 1740; Francois Medard, leading
Paris, 1700;
Francois Gavinies,
Paris,
1730,
Francois
Lupot, Plombieres, 1736- 1804; Francois Vaillant, Paris, 1758; Ambroise de Comble, Tournay, 1750; Nicolas Lupot, Paris,
1788-1822; Jean
1758-1824; F. L. Pique, Paris,
Baptiste Vuillaume, Paris,
Mirecouit,
1 798-1875; Francois Chanot, Pierre Silvestre, Lyons, 1 801 -1859;
1800;
1 803-1 871; George Chanot, 801 -1 883; Claude Francois Vuillaume, Paris, 1807;
Pierre Pacherele, Mirecourt, Paris,
1
Francois
Gand,
Maucotel, Paris, Mirecourt,
Adolphe 1820- 1858; Claude Augustin Miremont, Paris,
810-1845;
Hippolyte
1827;
Adolphe Gand,
1
Paris, 1845;
Charles
Silvestre,
Eugene Gand,
L3'ons, Paris,
1830; 1850-
1895.
f r"
Jacobus Stainer in Absam prope Oenipontum 16 We now
come
are legion, but
work
to the
who
German Makers, whose names
did not in the large majorit}' approach
French makers, yet there are a few who did turn out instruments of real merit such as
the
of the Italian or
ORIGIN OF THE VIOtiN
12
the Kloz family and especially Jacob Stainer, sidered the foremost
maker
of
them
in
all,
who
is
fact
several
con-
English writers of an early period, placed him above the best Italian school, though to-day the Italian instruments stand pre-eminent.
We
give the following
the
of
list
German makers,
whose work was without doubt of a high order: Jacob Stainer, Absam, 1621-1683; Mathias Albani, 1621-1673; Mathias Albani, Botzen,
Botzen,
Mathias
Kloz,
Kufstein,
1659;
Sebastian
Kloz,
Mittenwald,
1640;
Mittenwald,
Egidius Kloz, Mittenwald,
1650-1709;
Markus
1670- 1709;
Joachim
1675;
Stainer,
Tielke,
Hamburg, 1660- 1690; Johann Schorn, Innsbruck, 1680; Michael Albani, Botzen, Georg Kloz, Mittenwald, 17
—
17
—
;
John
Bachmann, 1
Bapt.
;
18
Schweitzer,
Berlin, 17 16-1800;
J.
—
;
Carl
I.udwig
Ulricus Eberle, Prague,
730- 1 750; Daniel Achatius Stadelmann, Vienna,
1750; Franz Ruppert, Erfurt,
Niirnberg,
1
17
—
;
1730-
Leopold Withalm,
765-1 788; C. Rausch, Breslau, 1750;
Martin
Diehl, Mayance, 1770; Nikolaus Dopfer, Mayance, 1768;
Christian
August wald,
Friedrich Hunger, Leipsic,
Otto,
1774;
Hornsteiner,
Mittenwald;
17 18-1787;
Jacob
Weimar, 1762- 1830; Joseph Kloz, MittenJohann Jaug, Dresden, 1760; Mathias Mittenwald,
PVanz
Riechers, Berlin, 18
1800;
Geissenhof,
—
Joseph Hornsteiner, Vienna, 1S12; August
ORIGIN OF THK VIOLIN
1
Made by
DUBL IN JSM.
^1:
England presents quite a few violin makers of considerable merit, though they never received much credit for by continental writers. The following is a list of the most prominent: Jacob Ra3'man, London, 1620- 1648; Edward Pamphilon, London, 1685; Henry Banks, Salisbury, Joseph Hill, London, 17 William Foster, Peter Wamsley, London, 17 17 Brampton, 1713-1801; John Barrett, London, 17 14; William Foster, London, 1739- 1807; Benjamin Banks, Salisbury, 1727-1795; William Hill, London, 1741; Richard Duke, London, 1750- 1780; Thomas Dodd, Sheffield, Bernard Fendt, London, 1756- 1832; Richard Evans, London, 1750; Thomas Perry, Dublin, 1767-1830; Samuel Gilkes, London, 1787- 1826; Locke}^ Hill, London, 18001840; Mathew Hardie, Edinburg, 1800- 1825; John Thomas Hart, London, 1805- 1874. their ability, especially
—
—
;
;
—
;
Violin Coristruction We
herewith present a short sketch upon the construction of the violin, from the works of that eminent author Chas. Goffrie, 1876.
THe
Violin, Its Form, Constituent Parts,
VarnisHes, £tc. The
violin in its present
form and outlines has remained
with only minute alterations, the same as in the i6th Stradivarius brought it to the highest perfection, but made no addition to its several parts. On the centur\\
form or model depends the qualit}^ or sound; a high built violin, like those of Amati, Stainer, etc., is soft in tone; flat built violins, like Joseph Guarnerius', Storioni's, etc., are loud often very powerful, with great carrying qualities; the medium form of Stradivarius, his pupil, etc., have both mellowness and power, and therefore, the most
—
satisfactory quality.
The
is
various parts of the violin are about 58. The back either in one or two pieces, the belly of the finest quality
made from one piece, divided into 2, so that the narrow grains joins in the middle; the sides in 6 pieces,
of pine,
the linings 12 pieces,
soundpost,
bridge,
neck, fingerboard, nut, 4 pegs, blocks, purfling, tail-piece and strings.
Belly and BacK of Violin The most important
part as to sound
the belly, the grain in the pine running straight and close together. is
CONSTRUCTION OF THE VIOLIN but as
15
cannot be found with the grain running at equal distances, it is usuall}^ found best to have the finer grain it
and
in the middle,
As
let
the larger run toward the sides.
to the proper thickness
of the
wood and
wood than high Those
violins
the form;
much depends on flat built violins
are thicker in
built ones.
which are of the same thickness which is very often the
are either scraped out,
badly made.
the quality
The back
is
made
of
all
over
case,
or
hard wood, stronger,
and nearly corresponds with the belly in form. The belly is the vibrating part, and the back must resist the pressure and great vibration, and throw the tone out, as it were, through the sound holes. The difference of vibrations of back and belly ought to be like C to D.
The blocks, linings, etc., in the violin, and the weight and position of neck and head, have a good deal to do with the sound. Savard and others have proved that a violin without neck and head loses much of its tone. A piece of wood, usually ebony, called violin holder, has, since the great violinist Spohr recommended it, come
much
in use;
it
facilitates the
holding of the violin, pro-
where the neck rests, and, if keep the pressure from the vibrating
tects that part of the violin
well made, so as to
part of the belly, does not prevent the vibration as much as the chin, and perhaps a large beard. The bar, a piece of pine
wood,
purpose of strengthening and reguis thin at the ends, and gradually rising in height to the middle, runs under the G for the
lating the quality of sound,
CONSTRUCTION OF THE VIOLIN
1
string about three-fourths of the length of the violin; the
length, height, thickness and position depend on the build of the violin; if
it is
a
new
one, with plenty of wood, the
with much spring; it may, indeed, be put in quite straight; but in an old violin, particularly in one rather weak, it ought to run in the direction of the G string, right under it, and bar need not be strong nor very long, nor
with more wood and spring in .
spring to a bar, the best wa}" to see that
it fits
fully sufficient to counter-
The wood must be very old, straight. To give the necessary
act the pressure of the strings
and the grain run quite
it
fitted in
is
to cut
it
to the right size,
well in the place, and then before gluing
on to take a little of the wood off gradually from the middle to both ends, so that it does not fit any more. Then when gluing it on it must be pressed on both ends with a little force, and kept down until dr}- and firm. If the third and fourth strings have not sufficient force after such an operation, the bar has not the proper position or not enough spring, and must be changed. The same must be done if the notes will not come out free, as then there is too much spring given, and the pressure of the it
strings
is
insufficient to counteract
Bridge Finally,
we come
little
l'
Sound-post.
to 2 small loose pieces of
bridge and sound -post, appropriatel}^,
sirxd
it.
or, as
wood
called
the French call the latter so
am^^ or the soul
of the violin.
pieces play a very important
part in
These
2
giving the
CONSTRUCTION OF THK VIOLIN quality of the sound.
and loosely
pine,
The sound-post into
fitted
is
1
made
the violin;
of very old
the
grain
is
The sound-
generally put crossways to that of the belly.
post has a nearly fixed position about one-quarter of an
inch behind the right foot of the bridge, but position
is
exact
only to be determined in conjunction with the
The
bridge.
its
bridge carrying the strings
is
cut in that
peculiar form with the view of having strength with the least
amount of wood, thus producing the
The
of vibrations.
greatest
amount
height, width and thickness a bridge
ought to have, can only be calculated with reference to the model of the instrument. The higher the build of the violin the lower should be the bridge.
Its position is
usually between the two niches marked in the sound-holes.
Vari^isHes. It
Varnishes are prepared with oil, is the opinion of eminent men
searches as to the cause,
why
with a
who have made
the art of
re-
making varnish
no instruwithin a century, can compare
resembling that of the old masters
ment, not even from Italy,
spirit or other fluid.
is
lost, as
Joseph Guarnerius, Amati or an}^ of It is believed the cause is that
fine Strad,
the makers of that period.
the
gum
varnish,
amber,
came
ingredient composing
that
markets about that time as a commerce, perhaps from the interior of
to the Italian
regular branch of Africa,
or chief
and has
for
or to be imported.
some reason discontinued
so to arrive
Also genuine dragon-blood, for color-
CONSTRUCTION OF THE VIOLIN
1
ing matter, which
quite
is
solved in an oily fluid,
is
markets, and the English
transparent, and easily dis-
no more found imitation of
it
in the is
European
very inferior
and not so transparent.
TKe Arrangement of tHe Bridge and Sotind-post. Having
said as
much about
the different parts of the
violin, we return to bridge and sound-post to explain what experience of many years with the best makers in Paris, London, and Brussels has taught me about it. It is certain that most violins can be improved, simply by a judicious arrangement of bridge and sound-post, and one can tell by a few minutes' examination whether a violin is well made and sound, has a proper bar, and proper
position of bridge and sound-post.
hardly a violin of the old makers to be found original condition, as the bar has to be changed to
There in its
is
give more resistance to the present high pitch, which is, in my opinion, too high for the production of the best
sound. arrange a bridge on a violin according to the The position of any fingerboard is decidedly wrong. of the form bridge must be calculated according to the
qualit}' of
To
A flat Stradivarius
or Jos. Guarnerius, will carry a bridge of i inch and Vs high, 1 3^ inches across the top, and a little less across the feet; it should not stand quite
violin.
straight, but slightly
backward, so that the strings over
CONSTRUCTION OF THE ViOLIN the bridge form an even angle.
To
save a good bridge,
cut one or two extra notches for pulling
The
up the
E
strings.
bridge ought to be tried with the sound-post, in
different positions, to find out
violin
I9
is
where
it
a valuable one, and the player
sounds is
best;
if
the
desirous of hav-
arranged in the best possible manner, several bridges, cut slightly different in height and width, ought to be tried, the best retained, and then only ought the
ing
it
fingerboard
which
it
be adjusted according to the bridge, after
must be
tried again to see
whether
it
sounds as
well, as
the slightest difference of place will affect the
sound.
Whoever
says that the proper places can be
determined by the eye alone
is
wrong.
have found that repairers do not give that important consideration to bridge and post w^hich is necessary, and from the remarks of some learned that they could not know much about it. I
heard an instrument maker say to a gentleman who came to have a new bridge put on a violin that he had the exact model of Signor Sivori's bridge, and w^ould make him a similar one; such and the like expressions are I
absurd; every violin must have a bridge fitted according
and there are hardly two violins alike. It is true that many players come to instrument makers asking how much will a bridge cost, and are not inclined to give more than about 50 cents; then nothing else can be expected than one put on quickly if it is a worthless
to its construction,
CONSTRUCTION OF THK VIOLIN
20
instrument; but
and
some
of
if
a violin
well made, of a good maker,
value, then the instrument
advise a careful trial is
is
maker ought
to
with more than one bridge, as there
a great difference in the vibrating qualities of bridges.
Three bridges cut exactly alike, so that no difference can be detected by the eye, will produce different qualities of sound. It is also necessary that a tolerably good player should try the different degrees of tone, as well as the various positions during arrangements of bridge and post.
Now
if
very soft, a hard hard and loud, as a softer bridge and more wood in
the quality of tone of a violin
bridge will give often in
new
it
brilliancy;
violins,
if
it
is
is
thickness, and the feet not cut too fine, will mellow the
can sometimes be gained by a little thicker The bridge moved nearer the post will post being used. give brilliancy; if moved too near the tone becomes hard.
tone,
The
and
this
sound-post moved a
little
nearer the bar will soften
the ist and 2d strings, and give fullness to the 3d and 4th;
have more brilliancy. I would, however, advise professors and amateurs not to make experiments on good violins themselves, as the instruments are very easily damaged, but to get an experienced repairer or instrument maker to do
if
moved nearer
it
for
to the sound-hole the first string will
them.
Strings.
The
thickness of strings
the strength of the violin.
is
to be calculated according to
A
well-made
flat violin,
with
CONSTRUCTION OF THK VIOLIN
21
a strong bar, will carry thicker strings than an old high-
build violin, with a
weak
bar.
Bo^vs. not close this subject without saying a few words about violin bows and their makers, as a good bow is indispensable to an artistic performance on the violin; I will
indeed,
it
ma}^ be termed the magic
wand
of the violinist.
only go back to the earliest period when the violin leceived something like the present shape, so that
I will
bow
the hair could be stretched at the will of the player. Corelli, about the year, 1680, was one of the first using
such a bow; then came Tartini,
who improved
it,
as also
did Tourte, the father of Francois; the early bows run up
was Francois Tourte who and to such a degree that since his time none have surpassed nor even equalled him, in giving the necessarj^ spring and force combined with lightness to the Bow.
straight
to
a
point; but
brought the Violin
Bow
it
to perfection,
(Extract from work of Chas. Goffrie, 1876.)
Our Professional Catalogue Containing of New Violins, BoM^s, Strings, £tc.. Mailed Upon A.pplication.
Complete
I^ist
a
Clay
»SHerinaii,
Co/s
Collection of
Fine Old Violins. The instruments sold entirely
upon
that go to
make up
their tone merits,
most essential point about any there has been so
much
that
the old violin business that
we
is
this collection are
which
is
really the
violin, either old or false in
new;
connection with
take pleasure in presenting
to those interested a line of violins
and
violoncellos, that
no matter what the price may be, the party purchasing, can depend upon securing the value in an instrument without paying double for a name onl}^, and that possibly fictitious.
While our terms are
cash, this
is
not absolute as
we
quite often, for the accommodation of our customers, sell
instruments of this character upon time pa3^ments.
Upon instruments
sold
upon installments we would
re-
quire at least one-quarter of the cost of the
instrument for payment, the balance to be divided into equal monthly payments, provided for b}- a contract, properly signed and indorsed.
the
first
We and
take in part paj^ment old violins or violoncellos,
purchase price of an}^ old violin or violoncello bought of us go toward the payment also
will allow
the
of a better instrument.
full
FINK OLD VIOLINS 94
MattHais Nexiner, 1809, MittenMraldy % Size. Price, $00.00 The back the varnish
is
is
one piece
in
very
German Copy
wood, the model
of well selected
brown
a reddish
large, tone sweet, yet
396
23
in color,
lull.
of I^orenzo G\ia-
dag'riini, 1724* Price,
-
-
-
_
$75.00
Full model in perfect condition, original the color of the varnish being a reddish
scroll,
brown,
full tone.
109
German iScliool, Copy of L. Hopf. Price,
The back
-
-
-
original neck and scroll are
still
$85.00 intact, the
one piece of well selected wood, showing nicely through the varnish, which is a reddish is
brown
in
in
color, full large
model having a strong
tone
392
Alexander
Dtilfenn, Livorno,
1095. Price, The back is
-
-
-
-
$90.00
one piece, the color of the varnish is a red brown, laid on quite thick, scroll original, tone strong and loud. in
FINE OLD VIOLINS
24
675
FrencH ScKool, Copy of Nicolas L'lipot, Paris. Price,
The back ribs
is
one piece of
$100.00
-
fine selected
wood, the
match the back, color of the varnish
brown, large 673
-
-
-
model,
flat
a light
full tone.
FrencK ScHool, Copy of Nicolas LrXipot, Paris. . Price, The back
in
is
two
-
$100.00
-
pieces, the
wood
in
both back
and top being excellent, varnish is a light brown color, the model is large with a full round tone. 398
Carlo Finoni, Venice, 1739. Price,
The model arch
to the
-
is
-
.
rather large and
back and
top, the
brown
piece, varnish reddish
3
in
flat
$100.00 without
back being
much
in
one
in color, tone strong.
Old Martin MaKe, Copy 0/ Gaspare da Sale, Brescia, 1545. Price,
The back brown all
is
in
-
-
two
-
$125.00
pieces, varnish a yellowish
in color, the scroll, neck, top,
back and
ribs
original and in a perfect state of preservation,
cracks, full powerful tone.
no
FINK OIvD VIOLINS 394
25
LorenzoStorioni, Cremona, 1745 Price,
-
-
-
$125.00
.
Known
as the last of the great makers of Cremona. The back is in one piece, the scroll is original, varnish a dark red, shaded toward the sides, model large,
with quite an arch in the top, the back being
somewhat
loud, clear tone of
flatter,
considerable
carrying power. 2
Mitten^vald
Copy 0/
ScHool,
JosepH Kloz.
Price, The back is
-
-
-
-
$150.00
in one piece, the original scroll has been preserved, varnish yellow in color wath a reddish tinge, the wood in the top and back is excellent, full model with a very loud tone withall of considerable sweetness, showing the instrument has
had considerable 766
use.
Jean Baptiste Price,
V\iilla\ime, Paris. $150.00
A
large full model of beautiful outline, excellent in both top and back, lustrous varnish very red in color, showing to fine advantage the grain of the w^ood, in perfect condition, no cracks, full deep responsive tone, a fine instrument for a soloist.
wood
5
Prag'\ie Scliool,
mian
Price, The back is
Copy 0/ BoHe-
Violin. in
two
-
-
-
$150.00
pieces, the scroll original, the
varnish is a light yellow in color and well put on, the model is fiat, being rather full at the sides. The instrument is in fine condition, no cracks, tone of good quality and quantit3\
FINE OLD VIOLINS
26
6
FrencK ScHool, Copy of Cla\ide Pierray, Paris 1709.
Price. $150.00 One piece back with original scroll, the varnish is a reddish brown in color, full model, wuth a very handsome outline, the tone is very rich and mellow,
a fine instrument for parlor use. 511
Domenico
Montag'iiana, Venice,
1720. Price,
The back
-
two
-
.
$150.00
with original scroll intact, varnish a golden brown in color, very attractive in appearance, the model is rather broad, being flat in upper and lower bouts, it is in good condition, what few cracks there are having been artistically is in
pieces,
repaired; its tone quality will appeal to any player, being very brilliant and full.
506
George
Adam
Gxitter,
berg, 1755. Price,
A large
full
-
-
-
model with the original
Nxirm$175.00 scroll,
back
two
pieces, haA'ing ribs to match; top an excellent piece of wood of broad grain, tone loud, of fine singing quality in our opinion, a fine instrument for concert work. in
—
9
Nicolo Oag'liano, Naples, 1730. Price, $200.00 Deep model Avith the peculiar scroll of the Gagliano family, the back is in two pieces, with ribs to match, color of the varnish a beautiful golden brown, worn in spots which gives the instrument a handsome appearance, the tone i^s very full and powerful.
Fink old viotiNS 7
2^
Prague ScHool, Copy ©/ BoHe-
mian Violin.
_ Price, _ $200.00 The back is in one piece, cut to show the grain of the wood to the best advantage, the quality is very
showing good judgment
fine,
in its selection, color
of the
varnish a yellow brown, tone loud and of considerable carrying power. 4
Ferdinando Gagliano, Naples, 1700. Price, The back is
...
$200.00
in two pieces with the ribs to match, varnish a reddish brown, the wood in both back and top is of fine quality, showing the maker had a knowledge of the acoustic properties of wood, the scroll is characteristic of the Gagliano family, being compact. It has a full powerful tone of great resonance.
397
Francois Garzoni, CKateaii THievray, 1708.
Price,
-
-
.
$200.00
The model
of the violin is large, rather arched at holes. The back is in one piece, the ff original scroll is intact, color of the varnish a golden brown, the top a little darker than the back, the
the
varnish on the back showing more wear, no cracks on the back or ribs, two small ones on the top running from the ff holes, they have been skillfullv repaired, strong, powerful tone of great carrving power.
FINE OtD ViOtlNS
28
II
FrencH ScHool, Copy of
Gio.
Paolo Maggini, Brescia, lO— $200.00 Price,
The back
is
one piece, inlaid with purfling
in
in fancy designs, the color of the varnish
is
a reddish
model in perfect condition, no brown, large patches or new wood, the tone is ver}^ strong and of flat
fine quality.
224
JoH. Bapt. ScKweitzer, 1813. $200.00 Price. .
.
is in two pieces with ribs to match, the a golden brown in color, with a reddish tinge at the sides where it is quite thick, the model is a beautiful one in appearance, with back and top rather arched; the instrument is in a perfect state of preservation, with a strong loud tone.
The back
varnish
492
is
Andreas Amati, Cremona. Price,
-
-
-
$250.00
The violin has a one piece back, the ribs matching the back which is of fine selected wood, the color of the varnish is a rich golden brown, through which the grain of the wood shows beautifulh^ the model is one of the best, top and back rather arched, with a tone of great strength, yet possessing considerable sweetnCvSS.
8
Sebastian Daling'er, Vienna, 1775
$250.00 Price, The instrument is of a rather full model, the outline broad, the workmanship being very artistically executed, the varnish is a rich reddish brown in color,
scroll original, tone is full, of great
resonance.
FiNK OI.D VIOI.INS 16
29
ScHool Copy of Gennaro Gag^liano, Naples, 1707.
Italian
Price, is
-
-
-
$250.00
The back is in two pieces of excellent wood, model medium and beautiful in outline, the varnish a
rich yellowish brown, somewhat worn, giving the violin a very handsome appearance, the tone is full and powerful, yet quite mellow, a fine instrument for solo work. 517
Carlo Antonio Testoro, Milan, 1735. Price,
A
-
-
-
$300.00
large fiat model of excellent proportions, the
instrument being in fine condition, one crack only in the top, and this has been so well repaired as to be hardly noticeable, the varnish is a yellow brown in color, ver}^ handsome appearance, tone full and loud, of great carrying power, just the instrument for an orchestra leader.
509
Joannes Baptista T\irin, 17—
Price,
-
The back
is
the varnish
is
-
Gtiadag(nini, -
$300.00
one piece, with well matched ribs, a rich reddish brown in color, very little worn, the model is quite large and full, top and back well arched, what few cracks there are having been beautifully repaired; the whole instrument presenting a very attractive appearance, loud full tone, of great resonance. Just the instrument for a soloist. in
FINK OLD VIOLINS
^6
13
Georg Kloz, Mittenwald, 17— = Price, $350.00 The ribs match the back which is in one piece, the wood of both back and top being of the best
quaUty, the scroll is genuine, color of the varnish a beautiful reddish brown, evenl}^ applied, the whole instrument is in a perfect state of preservation, the few repairs that were necessary having been skillfully done, model is broad and flat, outline being very symmetrical, ver}^ strong tone of considerable sweetness. 10
L. Hopf. Price, The name "Hopf"
-
-
$100.00
is stamped into the inside of the violin where the label should be, the back is in one piece of wood, with a beautiful grain, showing good judgment in its selection, the varnish is a red brown in color, model is large and flat, the violin being in a perfect state of preservation, no cracks or worm holes, strong characteristic tone, very responsive.
671
Jacobxis Strainer, Price,
The back
-
is
in
two
-
Absam, 1003. .
$400.00
pieces, the original scroll is
model, in fine condition, no the varnish is a reddish brown in color and a great deal of it, a full characteristic tone, so much sought after by those who copy the Stainer model, in our opinion a fine instrument for solo playing. still
intact, rather large
cracks or
new wood,
FINE OLD VIOLINS
15
Sebastian
Kloz,
3
Mitten\irald,
1753. Price,
-
-
.
$400.00
The back
is in one piece, of beautiful selected wood, with ribs to match, the varnish is a lustrous golden brown in color, through which the grain of the wood shows to the best advantage, scroll is genuine, of a characteristic design, a medium model
somewhat arched at the ff holes, the tone is strong and ver}^ sweet, yet of great carrying power. A fine instrument for an orchestra player. 18
Gio. Paolo Maggini, Brescia,1730 Price,
-
-
-
$400.00
The back is in one piece of well selected wood, both top and back being inlaid with purfling in fanc}' designs. Varnish a light brown in color, the grain of the wood showing through it beautifull3^
The violin is in perfect condition, 3^et having had enough usage to perfect its tone which is strong and loud, with considerable carr3nng power. 12
Aegidixis Kloz, Mitteiwirald, 1716. Price. $450.00 .
The back
is
in
two
-
pieces,
-
with ribs to match,
scroll genuine, the varnish is a light
brown
in color,
the top having more than the back, which shows more usage. Model is large, with a rounding arch, the violin as a whole is in fine condition. Powerful tone of remarkable carrying power.
FINE OLD VIOLINS
32
17
Hornsteiner, wald, 1742.
Mitten-
Price,
$500.00
JosepH This maker,
is
-
-
-
one of the best instruments made by that
not a crack in the body of the instrument, the neck being the only new part, the original scroll still preserved, the varnish is a rich reddish brown, showing very fineh^ on the The tone back, which is a beautiful piece of wood. is all that could be desired, possessing the necessary quality, with great carrying power. 14
it is
in perfect condition,
German 5cHool, Copy 0/ Nicolas I^\ipot, 1813. Price, instrument back of the The
$600.00
-
is
in
two
pieces, of
finely figured wood, through which the varnish, which is a dark red brown, shows beautifulh\ The model is medium without any cracks, the original Tone is very fine, being scroll and neck are intact. full, rich and mellow, with great carrying power. An instrument any one could be proud of. 19
Aegiditis Kloz, Mittenwald, 1791 Price,
The back
-
_
-
$000.00
in two pieces, the varnish is light in Rare judgcolor, very attractive in appearance. ment has been shown in the selection of the wood, especially the back which has been so cut as to show the grain to the best advantage, the sides match the is
back, there are very few cracks and these have been The model is large and flat, repaired. with a powerful sweet tone. skillfully
|
FINK OLD VIOLINS 20
33
Nxirmberg,
I^eopold 'Witlialm, 1810. Price, The initial
-
-
"W"
$000.00
-
burned into the inside of the back is in one piece of beautifully figured wood, with sides to match, the color of the varnish is a rich light brown, the scroll, neck, ribs, top and back are all genuine, the instrument being in perfect condition, only two small cracks on the top which have been artistically repaired. Medium model with a full rich tone of back
just
is
below the
label, the
particular sweetness. 21
JosepH Kloz, MittenMrald, Copy 0/ Nicola\is Amati, 1047. Price,
-
A beautiful specimen of is
in
two pieces
-
$750.00
-
art, the back with the ribs to
the Luthier's
of selected maple,
is very fine, showing the skill of these early makers in the selection of their wood, the instrument as a whole is in fine condition, what few cracks there are having been skillfully repaired, the varnish is dark brown in color, shaded toward The model is full, possessing a very the sides. strong and powerful tone of great carrying power, yet notwithstanding of considerable sweetness.
match, the top
Oxxr Professioivskl Catalogue Containing a Complete I^ist of New Violins, BoAvs, Strings, £tc.. Mailed
Upon
Application.
Fine Old Violoncellos. 698
German
School,
Copy of Oas-
paro da Salo, Brescia. Price,
-
-
-
$100.00
Back and topof excellent wood, well matched the
ribs,
color of the
varnish is a yellow brown, full size model having the characteristic holes of ff' da Salo, the tone is rich and full. A fine instrument for an amateur.
514
Ganuarixis
Gagliano,
Naples,
1750. Price,
,
-
.
$350.00
A
fine Stradivarius model, the back a beautifully figured piece of wood, the top of a straight grain,
varnish a 3'ellow brown in color, very
little
worn,
the instrument as a whole being in perfect condition, the tone is full and loud, of great carr3^ing power. full lined case made especially to fit the instrument is included.
A
FINK OLD VIOLINCKIvLOS 501
35
Joannes Baptista G\iadag'nini» Turin. Price,
-
-
$400.00
-
A
beautiful model of the fiuest workmanship with fine quality wood in back and top, showing rare skill in its selection, the color of the varnivSh is a rich golden brown. The instrument is in fine condition, the tone being full and rich, of great carr}^ing power. full lined case to fit instrument is included.
very
A
699
Jacob\is Stainer, Absom, 107O. Price,
-
-
-
$600.00
A
very fine specimen of this maker's work, beautiful in outline, the wood in both top and back of the very best, showing the judgment of the maker in its selection, the varnish is a rich yellow brown in color, well preserved, a pleasing tone of great power. Agreeable to pla}^, being very responsive to the touch of the bow. Just the instrument for a soloist.
Otir Professional Catalogue containing a complete list of ne-w violins, bo^vs, strings, etc.,
mailed upon
application.
Fine Violin Bows. I
C. F.
Albert
Pernambuco wood, octagon fully finished, full solid silver
silver button,
very
elastic,
stick, beauti-
mounted, long
well balanced, fine
ebony frog 913J
$25 00
To\irte Model, Paris. Pernambuco wood, octagon stick, beautiful ebony frog, pure silver mounted, selected for its strength and elasticity $22 50
1092
BaxiscH Model. Pernambuco wood, round stick, ebony frog and mounted in silver, fine
inlaid with pearl
Avorkmanship 1090
J20 00
Copy 0/ Baxisch. Pernambuco wood, round
stick, selected
on
strength and perfect balance, solid silver mounted, button solid silver .... $20 00
account
1098
ot its
Toxirte Model. Pernambuco wood, octagon ebony frog without CN^es, mounted, rare workmanship
ful
stick, beauti-
pure silver $20 00
FINE VIOLIN BOWS 1089
Ba\iscl\
37
Model.
Pernambuco wood, round stick, pearl inlaid ebony frog, full silver mounted, ivory tipped, very elastic
948
$20 00
Totirte Model. Pernambuco wood, octagon
stick,
very
finely finished, ebony frog, full silver mounted.. $20
615
Gand and Bernardel,
00
Paris.
Pernambuco wood, round frog, full elastic
616
silver
stick, fine ebony mounted, very strong and J20 00
Gaud and Bernardel»
Paris.
Pernambuco wood, octagon stick, fine ebony frog, pure silver mounted, very strong and elastic $20 00 511
F. N. Voirin, Paris. Pernambuco wood, round stick, handsome ebony frog, full silver lined, well balanced and elastic, of good playing quality $20 00
512
F. N. Voirin, Paris. Pernambuco wood, octagon stick, handsome ebony frog, full silver lined, well balanced and elastic, of good playing quality. $20 00
FINE VIOLIN BOWS
38
1097
L\ipot, Paris. Pernambuco wood, octagon stick, handsomely finished, ebony frog, full silver mounted, solid silver button, well balanced. $17 50
1095
BauscH Model. Pernambuco wood, round
balance, fine ebony frog, solid silver
1096
mounted ^17 50
T\ibbs Model. Pernambuco wood, round for its balance
silver
48
perfect
stick,
and
elasticit}-,
stick,
ebony
selected frog, full
mounted
Laberte-H\iinbert. A beautiful selected piece of
$17 50
pernambuco
wood, round stick, of the best workmanship, strong and well balanced, pure silver mounted, with solid silver button $15 00 1091
Voirin Model. Pernambuco wood, round stick, workmanship, well balanced, ebony puie silver mounted
1094
finest
frog,
$15 00
Voirin Model. Pernambuco wood, round stick, finely ebony frog, full *^ilver mounted,
finished,
superior playing qualities
Si 5 00
fine;
1088
violin bows
Totirte Model. Pernambuco woud, round frog, full silver of
103
39
mounted,
ebony
stick, fine
solid silver
button
new model
$13 50
MattHias Albani, Tyrol. Pernambuco wood, selected round workmanship, wide ebony frog, full
stick,
fine
silver
long solid silver button, strong and
lined,
$10 00
elastic
104
MattHias Albani, Tyrol. Pernambuco wood, silver lined,
and 105
selected octagon stick,
workmanship, wide
fine
ebony
frog,
full
long solid silver button, strong .$10 00
elastic
Ba\isch Model. Pernambuco wood, round stick, selected, ebony frog, full silver lined, well bal-
fine
anced 100
Pernambuco wood, round
German
50
f
5
00
stick, beautiful
silver lined, inlaid
Matthias Albani, Tyrol. Pernambuco wood, selected round ebony frog, full German silver
fine
stick,
lined,
pearl eye, ivory tipped 102
7
Vtiillaxime Model. ebon}^ frog, full with pearl
101
$
$ 3 50
Mattbias Albani, Tyrol. Pernambuco wood, selected octagon ebony frog, full German silver
fine
pearl eye, ivory tipped
stick,
lined,
$ 3 50
Violin Repairing,
Adjusting and Tone Regulating. It is absolutely necessary to entrust fine violin
work
to
thousand who repairs experts. violins to-day can properly be classed as an expert, nature must needs fit a man with the artistic temperament, patience, infinite capacity for taking pains and years of experience, research and familiarity with old master
Not one workman
in a
such as to be had only by an apprenticeship served in the art centers of the old world, an absolute necessity to produce what we esteem a fine violin maker
violins,
and
repairer.
We
have such men
and honest advice
is
our employ and their experience at the service of our patrons, our
in
charges are moderate, our
work above
We would be pleased to have
reproach.
you consult us
in reference
to repairs, furnishing you with estimates as to cost, also the opinion of our experts as to the amount and character of repairs necessary to
produce the best
results.
VIOLIN REPAIRING
42
We
herewith present a few photographs of a violin in various stages of construction, all the work was done in our own workshops by experts in our employ. This work for its careful attention to detail must be seen to be appreciated. We also show various pieces of old spruce and maple This for backs, tops, ribs, bass bars, sound posts, etc. wood was gathered in Europe, especially for us to be used in the reconstruction of valuable violins, most of this wood being fully 120 years old. its
violin
No.
1
Neck and ScroH
in
Four Stages of
Construction.
—Piece of old maple, with outline drawing ready for
— Outside design, ready for scroll to be cut. — Partly finished, .scroll ready for finishing 4 — Finished, ready for polishing. 2 3
its
touches.
cutting,
VIOLIN REPAIRING
VIOIvIN No.
1
2
"
PATTERNS.
— Antonio Stradivarius Model — Joseph Guarnerius
for
3— Gio. Paolo Maggini 4 5
— Joseph Guarnerius — Nicolo Aniati
"
6
"
7
— Jacob Stainer — Proper model for finger board.
8
— Model
" '
Jf holes.
9—
"
for "
Antonio Stradivarius Neck and Scroll. Joseph Guarnerius Neck and >Scroll
43
O
VIOLIN REPAIRING
46
VIOIyIN MATERIAI. No.
— A piece of old maple for ribs, ready for cutting into proper lengths. — Old piece of wood for sound posts, ready for cutting. 3— Finished sound post. 4 — Old wood for bass bars, ready for cutting. 5 — Fine piece selected maple for back. 1
2
6— Fine
piece selected spruce for top.
and Piano Compositions.
Violin
upon the following pages we have listed a few of the standard pieces of violin and piano music. This list comprises but a small portion of the stock we carry. Complete catalogues furnished upon application.
----.... ....
Alard, D., Op. 47, Faust Fantasie Artot, J., Op. 4, Souvenir de BeUini Bach, J. S., 12 Sonatas, 4 volumes, each Suite Sonata and Fugue (David) Chaconne (Schumann) 2
Concerts (Hermann), each
Air on
G
String (A. Wilhelmj)
-
-
-
Meditation, Ave Maria, 1st Prelude (Gounod) Becker, J., Romanza Beethoven, L. VON, Op. 40-50, Two Romances Op. 46, Adelaide Op. 47, Kreutzer Sonata in Op. 61, Concerto in D 10 Sonatas
Rondo and
-
-
-
-
-
|1.75 .75
1.25
1.50 .75
.75
l.OO 1.25 .50 .50 .75
A
.75
--------------
.50
2.00
Variations
.50
Bizet, G., 4 Concertos, each
.75
Bohm, C, Op.
187, No. 4, Perpetuum Mobile Op. 187, No. 5, Slumber Song Op. 187, No. 6, Landler . Bruch, M., Op. 26, Concerto in G minor Op. 47, Kol Nidre Chaminade, C Air de Ballet
-
-
.50
-
.35 .35 -
-
.
l.OO 1.50 1.25
,
Callirhoe
.60
La Livry Pas des Amphores Pierette
Scarf Dance
.-.---. -
.
.
l.OO
l.OO 1
-
00
1.00
VIOLIN MUSIC
48 Chopin, F., 18 Mazurkas 8 Nocturnes
.75
8 Waltzes Op. 9, No. 2, Nocturne (Sarasate) Op. 37, No. 1, Nocturne (Wilhelmj) CoRELLi, A., La Folio with Cadenza (Leonard)
.75
-75
-
-
-
CziBUivKA, A., Op. 356, Love's Dream After the Ball Dancla, C, Op. 66, Reverie, Homniage a I'Amitie 89, 6 Airs Varies,
Op
118,6 "
-
"
each
DussEK,
J. L.,
Op.
-
10,
Op.
No.
-
.
20, 6
.75
10,
-
(Reverie) Traumerei
Sonatas (Hermann)
EivGAR, E., Salut d'Amour
Ernst, H. W., Op.
.75
-
-
,
'«
1
.75
.75
-
-75
DeIvIBES, L., Valse Naila (Pas desFleurs) B.,
.90 .50
-
David, F., Op. 6, Introd. and Variations on Russian Air Op. 16, Andante and Scherzo Capriccioso De Beriot, Ch. De. Op. 7, Air Varie, No. 5 in E Op. 12, Air Varie, No. 6 in A Op. 15, Air Varie, No. 7 in E Op. 70, Concerto, No. 6. in A Op. 76, Concerto, No. 7 in G Op. 100, Scene de Ballet
Dessau,
-
Easy Fantasies, each
Op. Op.
83, 6
.60
-
-
-
.50 .50
-
.75 .75
.75
-
-
1.25 -
-
.50 .75 .75
-
Elegie
Op. 11, Otello Fantasie Op. 18, Carnival of Venice Op. 22, Hungarian Melodies Op. 23, Concert F Sharp minor Field, J., 10 Nocturnes (Hermann) _ Gabriei., Marie, Cinquantaine Gade, N. W., Op. 6, Sonata. A major Op. 21, Sonata, D Minor
.75
.50
-
-
-
-
.75
-
.75
.50
.50 .75
----.
_
.
-
.75
.
.
.
.
.75
.75
1.00
1.00
VIOLIN MUSIC
49
GiLivHT, E., Loin du Bal
GODARD, Gounod, Grieg,
B.,
Berceuse, "Jocelyn"
G.,
Vision of Jeanne d'Arc
E.,
Op
.60 _
----.
.
,
-------
Op. 6, 4 Humoresken Sonata I, F
8,
(vSitt)
-
-
Op. 12, 8 Lyric Pieces, Book I Op. U, Sonata II, G Op. 19, No. 2, Bridal procession (easy)
-
Romance from the String-Quartet Op. 28, Album Leaves (Sitt) 35,
Norwegian Dances
(Sitt)
A
(David)
.50
-
-
-
-
-
-
-
-
_
-
-
.75
-
-
I.OO
-
-
-
.
Haydn, J., Hermann,
-
-
-
-
-
-
-
-
-
-
-
-
each
-
-
-
-
8 Sonatas, (David) F., 15
Easy Pieces
60 Popular Melodies 47 Operatic Melodies
_ 34 March and Dance Melodies Jansa, L., Op. 75, 12 Easy Fantasies, each
1.50
-
-
1.50 1.00
50 .75
.50
.50 .50
.50 .35 .35
1.00 1.25 .75
.60
.60
.60
. -
.75
1.00
-
----------------------
2 Vol.,
.75
.75 -
----.---------
.75
-
Hauptmann, M., Op. 10, 3 Sonatas Ha USER, M., Cradle Song Op. 24, Evening Song Hungarian Rhapsodic Songs Without Words,
.75
I.OO
1.50
--------..-..-
GuNGL, J., Oberlander Handel, G. F., Largo
.75
.40
.75
-
-----
Op. 36, Cello-Sonata, arr. (Petri) Op. 38, Lyric Pieces, Book II Op. 43 and 47, Lyric Pieces, Book III Op. 45, Sonata III, Cm. Op. 46, Peer Gynt-Suite I (Sitt) Introduction from Sigurd Jorsalfar 8 Songs (Sauret), 2 Books, each
Sonata in
-
-
-
Bridal procession and Carnival (Sauret)
Op.
.
-
.50
VIOLIN MUSIC
50
Flower Song Laub, F., Ballade and Polonaise Leclair, J. M., Op. 3, Sonata Op. 7, No. 2, Concerto Leonard, H., Op. 2, Souvenir de Haydn Op. 15, Grand Military Fantasie
Lange,
.50
G.,
Mascagni, Massenet,
.75 -
-
Intermezzo, Cavalleria Rusticana
J.,
Virgin's Last Slumber
30,
Words Spring Song (Weiss)
64,
Concerto,
E
minor
-
-
-
15,
Serenata
18,
45,
No. No.
55,
Polish Dances
1,
Melodic
2,
Guitarre
6, 1st
Op.
7,
.40
-
-
1.00
-
-
------
-
-
-
Op. Op. Op.
Pierne,
8,
E
.90 .50
.50 .50 .50 .75
.75
Flat
Le Streghe
11,
.75
Moto Perpetuo
.75 .75
13, I Palpiti
G., Serenade in
Puccini, G.,
Boheme
.50
.75
N., 4 Favorite Pieces in
.50
1.50
Valse de Concert
1,
1.50
2.25
-
-
Caprice de Concert
Concerto, No.
.50
.75
p.,
Paganini,
.50
1.00
-
Sonata inDNeruda, F., Berceuse Slave Paderewski, L, Op. 8, Melodie Op. 14, No. 1, Menuet
Nardini,
1.00
.75
-
------
Mozart, W. A., 18 Sonatas (Hermann) MusiN, O., Mazurka de Concert Op.
.75
-
-
-
MoLiQUE, B., Op. 21, Concerto, No. 5, in A minor Moszkowski, M., Op. 12, Spanish Dances . Op. Op. Op. Op.
-
-
.50
Symphonies, each
F., 2
36 Songs without
1.00
-
-
-
-
p..
Mendelssohn, Op. Op.
-75
.75
A
Selection
-
-
-75
1.25
VIOLIN MUSIC Raff,
Reber,
--------------------------
Sonatas, each
J., 5
Op. Op.
51
No.
83,
85, 6 Pieces
H., Berceuse
Ren.\rd, F., Berceuse in G Op. 20, Berceuse, No.
in
Rode,
.50
F
.50
Op
27,
Op. Op.
34,
G minor Second Suite F major Third Suite in G major
27,
No.
4,
.50 .75
.75 2,
RiES, F., Op. 26, First Suite, .
1,50
Cavatina
5,
Romance
3.00 1.50
_
-
.
.
-
.
.
-
1.00
G
in
.50
p.; 9, Concerto No. 7 Op 10, Air Varie Op. 13, Concerto No. 8 Concertos No. 4, 6, 11, each
Op.
Rosen,
M
,
.75
.50 .75
.75
Berceuse
Rubinstein,
A.,
Op
.50 13,
Sonata in
G
-
-
.
i.qo
.
Op. 44, No. 1, Romance Op. 46, Concert in G
Melody
in
.50
2.00
F (Hermann)
.50
Saint-Saens, C, Le Cygne (The Swan) Op. 28, Introd. and Rondo Capriccioso -
Sarasate,
Faust Fantasie Spanish Dances, each Op. 20, Zigeunerweisen P.,
SCHARWENKA, Schubert,
X., Op.
F., 3
3,
-
-
.50
-
-
No.
1,
-----
PoHsh Dance (Hermann)
Sonatas (David)
-
-
1.50 2.25 1
25 .75
.60 -
12
Serenade The Bee
.75
-
----..----..
Duos (David) Marches (Hermann) 12 Selected Songs (Sitt)
4
-
1.25
1.00 -
.75
.50
.50
VIOLIN MUvSIC
52
vSCHUMANN,
Op
.-_...
R., Op. 73, Fantasie vStiicke
Three Romances Op. 105, 5 Stucke im Volkston Op. 113, Marschenbilder 90,
-
-
-
-
.50
-
.
.
.
.50
.-.----
12 Favorite Pieces (Sitt)
-
39,
La Sonnambula
Op.
56,
Fantasie Pastorale in
-
-
-
-
-
-
-
-
-
-
-
-
D
-
.
-
-
.75
Concert
in
-
. -
-
-
-
I)
-
(Hermann)
.75
-
1.40 1.4'j
1
40
].40
1.50 .75 .75
.75 .75 .75
.75
-
.50
75
.90
-
-
-
-
-
1.50
-
_
---------
SVEND.SEN, Op. 26, Romance in G Tartini, G., Le Trille du Diable 2 Sonatas, E minor and G major Thome, F., Op. 25. vSimple Confession
ToHANi, T. M., Hearts and Flowers
-
-
-
50 .75
-
.
-
1
_
-
-
.50
.
-
-
-
35,
-
.50 .50
-
Op. Op. 106, Faust SiTT, H., Op. 39, Album Leaves Op. 62, 3 Sonatas, each Spohk, L., Op. 2, Concerto, No. 2, D minor Op. 38, Concerto, No. 7, E minor Op. 40, Polonaise _ Op. 47, Concerto, No. 8, A major minor No. D Concerto, Op. 55, 9, Three Slow Movements from Concertos SuPPE, I'\ VON, Overture, Poet and Peasant
TscHAiKOW.'^KV, Op.
.50
-
--------------------------------
Op
Trovatore
.50
----------
from Album of the Youii^ 15 Favorite Songs (vSitt) vSiMONKTTi, A., Madrigale SiNDiNG. C, Op. 10, vSuite A minor Op. 27, Sonata F, major Op. 30, Romance Op. CV, Concerto Op. 61, 4 Pieces in 3 Books, each vSiNGKLEE, J. B., Op. 13, Pirate 12 Pieces
94, 11
50
-
.75
.50
1.25
-
.
.50
-
-
.75
.;5
VIOLIN MUSIC
53
ViKUXTEMPS, H., Op. 7 and 8, Romances, each . Op 9, Homniage a Papini Op. 10, Grand Concerto
J. B.,
2
-
,
To the Evening Star (HuUweck)
-
-
J., Harvest of Flov.-ers (Blumenlese), each WiENiAWSKi, H., Op. 3, Sonvenir de Posen Op. 4, Polonaise Brillante D Op. 5, Adagio Elegiaqne Op, 6, Airs Russes Op 7, Romance Sans Paroles and Rondo Op. 11, Carnival Russe
Op
12, 2 15,
Theme
16,
Scherzo Tarantelle
17,
Legende 2 Mazurkas
'p. 19,
Op Op.
20, 21,
-
Faust Fantasie
2nd Polonaise,
Kuvawiak
D minor
-
1.50
1.00
1.00 I.UO 1.50 .75 .75 .75
.50
-
-
.50
.50
1.00 .50 .75
-
-
-
-
1.00
1.40
Mazurkas
Original Varie
00
-
----------------------------.-_.--
Op. Op. Op.
1.
1.00
.75
-
-
1.00
-
-
-
Weiss,
(
-
Concertos, Nos. 20, 22, 33, 24, 28, 29, each
1.00 1.00
_
Books, each
F Ciaccona (David) Wagner, R, Walther's Preislied (Wilhelmj)
ViTALi,
-
-
.
------------------------------------------
Op. 11, Fantasie Caprice Op. 17, Yankee Doodle Op. 18, Fantasie Norma Op. 19, 2nd Concerto Op. 27, Fantasie vSlave Op. 29, Andante and Rondo Op. 33, Borquet American Airs, Op. 35, tantasie Appassionata Op. 37, Concerto No. 5 Op. 38, Ballade and Polonaise Op. 40, No. 3, Bohemienne . . . Reverie VioTTi,
-
.60 .75 .75
1.25 .50
-
-
.75
-
-
.50
.75
1.65 1.00 1.75 .75
0\ir Professiona.1 Catalogue Contairiing a Complete L'ist o/" Ne-w Violins, Bo^vs, Strings, C'tc, Mailed LJpori A.pplication.
HAVING
shown old
in
we have
their
new French
received a sample line of
any
of our regular calalogues
therefore issued this special
and could not be
classed as
These instruments
circular.
Any
we have
them.
listed
person desiring a fine
new
instrument at a reasonable price
could not do better than to secure one of this sample
— French School,
Copy Nico'as Aniati,
line.
1S2J.
|2c.oo
Price Full
model, well made, varnish red brown
— Nicolas
2
Full
in color.
Beitholini, Paris. Price
model, varnish a
— F'rench School,
S
125.00
light red
brown,
slightly
Copy Atitouius Sfradivariiis,
shaded.
Jj2i.
Price
Good 9
— Claude
$27.5cj
copy, well made, color of varnish a light red brown, slightly shaded.
Leblanc, Paris. Price
Full
1130.00
,
model, well made, varnish red brown
— PVench
40
for
beauty of outline, handsome varnish and excellent tone cannot be
duplicated at the prices
I
that arc not
Violins,
in color.
School, Copy Jean Baptiste Viiillaumc, Paris.
Price Full model, well
1^30.00
made
of gc^od wood, varnish light red
in color.
—Jean
10
6
Baptiste Cclin, Paris, 1901. Price I30.00 F'ine model, made of well selected wood, varnish a lustrous red, evenly applied, giving the instrument a handsome appearance.
— Frer.ch SchooX, Copy Jcan Baptiste
ViiillauDie.
Price Well selected wood, edges inlaid with double varnish a red brown shaded. II
—
I).
i-SS 'J*^
rcAv
of purHing,
Sonot, Paris, 1901. Price
I40.00
Well made of ' good quality wood, reddish varnish shaded,
fine
tone. 14
— Laberte,
Paris, 1901.
Price Full model, of beautiful grained wood, the varnish yellow evenly applied, large tone.
l75-o<-» is
a
golden
i
^^-^^
JJ$'
U
C.
BERKELEY LIBRARIES
CD373bfl7bT
DATE DUE Music Library University of California at
Berkeley
^:':vM
