CUTHBERT, London, 17th century. Maker of Viols and Violins. Many of the latter have merit. Model flat, and wood of good quality. Very dark varnish.
DAVIDSON, Hay, Huntley, 1870.
DAVIS, Richard. Worked with Norris and Barnes.
DAVIS, William, London. Succeeded Richard Davis in the business now carried on by Edward Withers.
DEARLOVE, Mark, Leeds.
Dearlove and Fryer,
Musical Instrument Manufacturers,
Boar Lane, Leeds, 1828.
DELANY, John, Dublin. Used two kinds of labels, one of them very small—
Made by John Delany,
No. 17, Britain Street, Dublin. 1808.
In the other, which is larger, he states that he made Violins that his name might be of immortal memory.
Made by John Delany,
In order to perpetuate his memory in future ages.
Dublin. 1808.
Liberty to all the world
black and white.
DENNIS, Jesse, London, 1805.
DEVEREUX, John, Melbourne. When in England he worked with B. Simon Fendt.
DICKINSON, Edward, London, 1750. Made instruments of average merit. The model is high.
Edward Dickinson,
Maker, at the Harp and Crown in the Strand,
near Exeter Change,
London. 17—
DICKESON, John, 1750-80, a native of Stirling. He would seem to have lived in various places, some instruments dating from London and some from Cambridge. He was an excellent workman, and chiefly copied Amati. His work much resembles that of Cappa.
DITTON, London, about 1700. Mention is made of an instrument by this maker in Tom Britton's Catalogue.
T. Dodd,
Violin, Violoncello
and Bow Maker,
New Street,
Covent Garden.
DODD, Thomas, son of Edward Dodd, of Sheffield. He was not a maker of Violins. Numerous instruments bear his name, but they are the work of John Lott and Bernard Fendt. The merit of these instruments is of the highest order, and they are justly appreciated by both player and connoisseur. Thomas Dodd deserves to be mentioned in terms of high praise, notwithstanding that the work was not executed by him, for his judgment was brought to bear upon the manufacture during its various stages, and more particularly in the varnishing, in which he took the liveliest interest. He had a method of mixing colours, the superior qualities of which he seems to have fully known, if we may judge from the note on his labels, which runs thus: "The only possessor of the recipe for preparing the original Cremona varnish. Instruments improved and repaired." This undoubtedly savours of presumption,
DAVIDSON, Hay, Huntley, 1870.
DAVIS, Richard. Worked with Norris and Barnes.
DAVIS, William, London. Succeeded Richard Davis in the business now carried on by Edward Withers.
DEARLOVE, Mark, Leeds.
Dearlove and Fryer,
Musical Instrument Manufacturers,
Boar Lane, Leeds, 1828.
DELANY, John, Dublin. Used two kinds of labels, one of them very small—
Made by John Delany,
No. 17, Britain Street, Dublin. 1808.
In the other, which is larger, he states that he made Violins that his name might be of immortal memory.
Made by John Delany,
In order to perpetuate his memory in future ages.
Dublin. 1808.
Liberty to all the world
black and white.
DENNIS, Jesse, London, 1805.
DEVEREUX, John, Melbourne. When in England he worked with B. Simon Fendt.
DICKINSON, Edward, London, 1750. Made instruments of average merit. The model is high.
Edward Dickinson,
Maker, at the Harp and Crown in the Strand,
near Exeter Change,
London. 17—
DICKESON, John, 1750-
DITTON, London, about 1700. Mention is made of an instrument by this maker in Tom Britton's Catalogue.
T. Dodd,
Violin, Violoncello
and Bow Maker,
New Street,
Covent Garden.
DODD, Thomas, son of Edward Dodd, of Sheffield. He was not a maker of Violins. Numerous instruments bear his name, but they are the work of John Lott and Bernard Fendt. The merit of these instruments is of the highest order, and they are justly appreciated by both player and connoisseur. Thomas Dodd deserves to be mentioned in terms of high praise, notwithstanding that the work was not executed by him, for his judgment was brought to bear upon the manufacture during its various stages, and more particularly in the varnishing, in which he took the liveliest interest. He had a method of mixing colours, the superior qualities of which he seems to have fully known, if we may judge from the note on his labels, which runs thus: "The only possessor of the recipe for preparing the original Cremona varnish. Instruments improved and repaired." This undoubtedly savours of presumption,