English Violin Makers
ABSAM, Thomas, Wakefield, 1833.
Made by
Thomas Absam,
Wakefield, Feb. 14,
1833.
ADAMS, Garmouth, Scotland, 1800.
ADDISON, William, London, 1670.
AIRETON, Edmund. Was originally employed in the workshop of Peter Wamsley, at the "Harp and Hautboy," in Piccadilly. He made a great many excellent Violins and Violoncellos, and chiefly copied Amati. Varnish of fair quality; colour yellow. He died at the advanced age of 80, in the year 1807.
ALDRED, ——, about 1560. Maker of Viols.
ASKEY, Samuel, London, about 1825.
BAINES, about 1780.
BAKER, ——, Oxford. Mention is made of a Viol of this maker in the catalogue of the music and instruments of Tom Britton, the small-coal man.
BALLANTINE, Edinburgh and Glasgow, 1850.
Benjamin Banks,
Musical Instrument Maker
In Catherine Street, Salisbury.
1780.
BANKS, Benjamin, Salisbury, born 1727, died 1795. To this famous maker must be given the foremost place in the English School. He was a thorough artist, and would not have been thought lightly of had he worked in Cremona's school, and been judged by its standard. This may be considered excessive praise of our native maker; but an unprejudiced judge of work need only turn to the best specimens of Banks's instruments, and he will confess that I have merely recorded a fact.
Banks is, again, one of the many instances of men who have gained a lasting reputation, but whose histories have never reached the light to which their names have attained. How interesting would it be to obtain the name of his master in the knowledge of making instruments! No clue whatever remains by which we could arrive at a satisfactory conclusion on this point. That he was an enthusiast in his art is certain, and also that he was aware to some extent that he possessed talent of no mean description. This is evidenced by the fact that many of his instruments are branded with the letters B. B. in several places, as though he felt that sooner or later his works would be highly esteemed, and would survive base imitations, and that by carefully branding them he might prevent any doubt as to their author. Many of his best instruments are found to have no brand: it would seem, therefore, that he did not so mark them for some time. He appears to have early shown a preference for the model of Niccolò Amati, and laboured unceasingly in imitation of him, until he copied him with an exactness difficult to surpass. Now that time has mellowed his best works, they might pass as original Amatis with those not perfectly versed in the characteristics of the latter. Many German makers excelled as copyists of Amati; but these makers chiefly failed in their varnish, whereas Banks was most happy in this particular, both as regards colour and quality. If his varnish be closely examined, its purity and richness of colour are readily seen. It has all the characteristics of fine Italian varnish, being beautifully transparent, mellow, and rich in its varieties of tints. It must be distinctly understood that these remarks apply only to the very finest works of this maker, there being many specimens which bear the label of Banks in the framing of which he probably took but a small share, leaving the chief part to be done by his son and others. Banks cannot be considered as having been successful in the use of his varnish on the bellies of his instruments, as he has allowed it to
ABSAM, Thomas, Wakefield, 1833.
Made by
Thomas Absam,
Wakefield, Feb. 14,
1833.
ADAMS, Garmouth, Scotland, 1800.
ADDISON, William, London, 1670.
AIRETON, Edmund. Was originally employed in the workshop of Peter Wamsley, at the "Harp and Hautboy," in Piccadilly. He made a great many excellent Violins and Violoncellos, and chiefly copied Amati. Varnish of fair quality; colour yellow. He died at the advanced age of 80, in the year 1807.
ALDRED, ——, about 1560. Maker of Viols.
ASKEY, Samuel, London, about 1825.
BAINES, about 1780.
BAKER, ——, Oxford. Mention is made of a Viol of this maker in the catalogue of the music and instruments of Tom Britton, the small-
BALLANTINE, Edinburgh and Glasgow, 1850.
Benjamin Banks,
Musical Instrument Maker
In Catherine Street, Salisbury.
1780.
BANKS, Benjamin, Salisbury, born 1727, died 1795. To this famous maker must be given the foremost place in the English School. He was a thorough artist, and would not have been thought lightly of had he worked in Cremona's school, and been judged by its standard. This may be considered excessive praise of our native maker; but an unprejudiced judge of work need only turn to the best specimens of Banks's instruments, and he will confess that I have merely recorded a fact.
Banks is, again, one of the many instances of men who have gained a lasting reputation, but whose histories have never reached the light to which their names have attained. How interesting would it be to obtain the name of his master in the knowledge of making instruments! No clue whatever remains by which we could arrive at a satisfactory conclusion on this point. That he was an enthusiast in his art is certain, and also that he was aware to some extent that he possessed talent of no mean description. This is evidenced by the fact that many of his instruments are branded with the letters B. B. in several places, as though he felt that sooner or later his works would be highly esteemed, and would survive base imitations, and that by carefully branding them he might prevent any doubt as to their author. Many of his best instruments are found to have no brand: it would seem, therefore, that he did not so mark them for some time. He appears to have early shown a preference for the model of Niccolò Amati, and laboured unceasingly in imitation of him, until he copied him with an exactness difficult to surpass. Now that time has mellowed his best works, they might pass as original Amatis with those not perfectly versed in the characteristics of the latter. Many German makers excelled as copyists of Amati; but these makers chiefly failed in their varnish, whereas Banks was most happy in this particular, both as regards colour and quality. If his varnish be closely examined, its purity and richness of colour are readily seen. It has all the characteristics of fine Italian varnish, being beautifully transparent, mellow, and rich in its varieties of tints. It must be distinctly understood that these remarks apply only to the very finest works of this maker, there being many specimens which bear the label of Banks in the framing of which he probably took but a small share, leaving the chief part to be done by his son and others. Banks cannot be considered as having been successful in the use of his varnish on the bellies of his instruments, as he has allowed it to