Reference Library Biographies

According to Count Cozio di Salabue, Ceruti was a pupil of one Count Luigi Maggi in Cremona, although no trace of this maker's work has survived. It is probable that Ceruti learned his craft from Nicola and Carlo II Bergonzi.

The son and pupil of Giovanni Battista, he worked in similar style to his father, though less productively.

Son and pupil of Joseph Chanot (1760-1832), a Mirecourt violin maker, and once established in Paris, a rival to his contemporary J.B. Vuillaume

Andre Chardon was the grandson of Joseph Marie Chardon (1843 1940) who was the son in law of Georges Chanot II, and succeeded him in business

Violinist taught the rudiments of violin making by Giuseppe Ceruti relatively late in life.

Worked for Bazin in Mirecourt before opening a shop in Paris (ca. 1919)

Apprenticed to W.E. Hill & Sons in 1964 ??" 9. Subsequently worked with Stephen Bristow for a period producing bows under the name J.S. Rameau.

Highly distinguished Spanish maker known as Il Grenadino after his birthplace in Granada.

Slightly unpredictable workman using both low- and high-arched Amati models.

An English Dealer whose bows, bearing the Corsby brand were probably made by a member of the Dodd family.

Although working in nearby Treviso, he is classified as a maker of the Venetian school, and his work is neat and charming in the Amati manner,

Violin maker and repair man who made (cf. Roda) about 300 'fairly good bows', most for Lyon & Healy of Chicago.

Apprenticed to William Salchow in New York. Bows based on Tourte ??" Peccatte models. Sufficiently appreciated to win gold medals in 1978 and 1980 by the Violin Society of America.

Cuypers' earliest work dates from 1750 in the Hague. He may have been trained there by J.-J. Wattier

An important founder-member of the later Turin school, his very classical, finely-wrought French influenced work appeared from 1816

Distinctive maker of the late Mantuan school, his work shows some lack of control in both outline and arch, and can vary considerably.

Although contemporary with Antonio Bagatella, is considered to be his pupil. Similar well-proportioned model and refined craftsmanship, but generally harder, less lustrous orange varnish.

Apprenticed to Gaillard and Nicolas in Mirecourt, he then worked for F. N. Vuillaume in Brussels.

Extremely crude workmanship, with a plain materials but a reasonably flat arch and good sound potential.

Initially a soldier and musician, he worked in Venice from 1750, and his label is one of the most commonly found in instruments made there in the last half of the eighteenth century.

Worked initially in Trieste from 1885-1888, he developed a very flamboyant and craftsmanlike style, with sculpted edges to both the body and scroll. He sometimes expanded the purfling to five rather than three alternating black and white strips.

Generally less exaggerated in style than his father, he also used a darker, thinner red-brown varnish.

A fine maker in the Vuillaume style of Stradivari and Guarneri copies. Also worked in Paris, but remained for most of his life in Mirecourt

An English bowmaking family, whose output spanned more than a century. Consisting of at least six different makers, three or four of whom's first initials are 'J'. Brands can be 'Dodd', 'J. Dodd' and 'E. Dodd'.