172—

HARRIS, Charles, London, 1800. This maker is known only to a few dealers, as he made chiefly for the wholesale merchants of his day. His name was rarely affixed to his instruments, but those thoroughly acquainted with his work agree in giving him a foremost place among the makers of this country. He was, like many other makers of that period, engaged in two occupations differing very much from each other, being at the same time a Custom-house officer and a maker of Violins. The former circumstance brought him into contact with mercantile men, and enabled him to obtain commissions to make Violins for the export trade. His business in this direction so increased that he obtained the services of his relative, Samuel Gilkes, as his assistant. He never aimed at producing a counterpart of the instrument that he copied by resorting to the use of deleterious means to indicate upon the surface of an instrument the ravages of time. He faithfully copied the form, and thus did what Lupot was doing at the same period. The finish of these instruments is excellent, and as they are covered with a good quality of varnish, they have every recommendation of appearance.

HARRIS, Charles. Son of the above. Neat workmanship. Well-cut scroll. Sound-holes not well formed. Yellow varnish. Worked for a short time for John Hart.

John Hart,
Maker,
14, Princes Street, Leicester Square,
London. Anno 18—

HART, John Thomas, born December 17, 1805, died January 1, 1874. He was articled to Samuel Gilkes in May, 1820, of whom he learned the mechanical branch of his profession. He afterwards centred his attention upon the peculiar characteristics of the Cremonese and Italian Violin-makers generally, and in a comparatively brief space of time obtained an extensive acquaintance in that direction. His unerring eye and powerful memory of instruments once brought under his notice secured for him the highest position among the connoisseurs of his time. Commencing business at a period when the desire to possess instruments by the famous Italian makers was becoming general among amateurs, and being peculiarly fortunate in securing an early reputation as a judge of them, he became the channel through which the greater part of the rare Italian works passed into England, and it has frequently been said that there are very few distinguished instruments in Europe with which he was unacquainted. Among the remarkable collections that he brought together may be mentioned that of the late Mr. James Goding, the remnant of which was dispersed by Messrs. Christie and Manson in 1857; the small but exquisite collection of Mr. Charles Plowden, consisting of four Violins of Stradivari and four of Guarneri, with other instruments of less merit, the whole of which again passed into Mr. Hart's possession upon the death of their owner; and, lastly, a large portion of the well-known collection of the late Mr. Joseph Gillot, sold by Christie and Manson shortly after the famous sale of pictures belonging to the same collector.

HAYNES, Jacob, London, 1746. Copied Stainer. The style resembles that of Barrett.

HEESOM, Edward, London, 1748. Copied Stainer.

HILL, Joseph, London, 1715-84. Pupil of Peter Wamsley. His Violoncellos and Tenors are well-made instruments.
Joseph Hill, Maker,
at the Harp and Flute,
in the Hay Market.
London.

HILL, William, London, 1741. Son of the above. Very good work.
William Hill, Maker, in Poland Street,
near Broad Street, 17—

HILL, Joseph, London, 1800-40. Son of the above.

HILL, Lockey, London, 1800-35. Brother of the above. Made many excellent instruments.