Used a remarkably well-proportioned Amatese model, although craftsmanship relatively coarse.
Pupil of Laurent in Mirecourt, in 1893 Boulangeot entered the shop of Bernardel, remaining with the shop until 1909.
Boullangier served his apprenticeships in Mirecourt and Paris, before moving to work in London in 1849 where he worked for Edward Withers
Son of Antonio Brensi, a lute, viol and cittern maker, whose surname may well indicate a Brescian origin.
Bowmaker originally apprenticed at W.E. Hill & Sons (1967 ??" 1972), followed by a period working with John Clutterbuck.
English bowmaker working with George Withers & Sons in Leicester Square
Apprenticed under William Retford in the workshops of W.E. Hill & Sons in 1922,
He arrived in Venice in 1743, and his work shows a faint stylistic debt to Montagnana, who was at that time the dominant maker in the city.
A rarely encountered but very interesting maker whose work is eccentric but of Cremonese quality
French maker, working in Mirecourt towards the end of the 18th Century.
The best maker of the Genovese school, he was probably introduced to the craft by the Tyrolean maker Martinus Heel, who settled in Genoa around 1700.
American maker who started making bows in 1918.
Son of Frank J. Callier, working in Pasadena California.
Slightly eccentric maker working in the Italian south Tyrol, using a generally Staineresque model with a distinctive narrow head.
A very refined and prolific maker. Acquired a Cremonese technique from Pietro Guarneri, (active in Mantua from ca. 1680 to 1720), and possibly another contemporary Mantuan maker, Antonio Zanotti, who may have been a pupil of Girolamo Amati II
Cesare Candi served his apprenticeship under Raffaele Fiorini before moving to Genoa to work in the workshop of his brother Oreste Candi
An early maker working in an Amati-influenced style in Turin. His teachers were almost certainly of Tyrolean origin, notably Enricus Catenar and Andrea Gatto, who utilised the technique peculiar to northern European makers of setting the ribs into a chann
Pupils of Giovanni Baptista Gabbrielli, the brothers Carcassi worked both together and individually to varying standards of finish and accuracy, generally to a high-arched Stainer model which prevailed in Florence at that time.
A fine and interesting maker, although rare. Stylistically reminiscent of Giuseppe Guarneri filius Andreae, with a rich varnish and slightly coarse finish.
One of the followers of Calcanius in Genoa, his workmanship can be a little unpredictable, often with low-set soundholes. Fairly prolific maker of violins, viols and cellos.
Of north Tyrolean origin, he is one of the initiators of the early Turin school, and a strong influence on Goffredo Cappa.
A follower of Calcanius with a reasonably refined technique, working on an Amatese pattern.
A very distinguished maker with a delicate model and fine, pale golden varnish. Presumed to be a pupil of Giofredo Cappa, whom he follows chronologically in Turin, although there is little that connects them technically and stylistically.
Son and pupil of Giuseppe, his earliest work was probably made in conjunction with his father and dates from around 1840.