The Becker/Wm. Lewis/Chicago "Sound"

[Woodland]

Being something of a "lifelong" Chicagoan and working in the violin trade, I can't help but feel a certain amount of hometown pride (not from my contributions, of course). Chicago has certainly made it's mark in the violin field, partially stemming from the influx of skilled European/American craftsman who learned their craft either here or back in the homeland.  Our shop recently acquired a nice George Einsele violin, that tonally falls into the bright and powerful spectrum of sound. Although I've never played a Becker instrument, from what I've heard they seem to fall into that tonal category by reputation. I've also been in touch with a fellow Maestroneter who owns an Anders Halvarson violin (also of the William Lewis & Son shop), who claims that it's something in the bright/powerful category of sound. Our shop also has a Frank Sindelar, which although has a slightly low neck, seems to aspire to be a "Chicago screamer". Today I came across a copy of an old Lewis and Sons advertisement from 1922 (the same vintage as our Einsele) that showcased their "Lewis" violins by Einsele, indicating they were "heavy in wood" and "were slightly disappointing" when new, but when played in were known for their powerful and responsive tone. I suppose any maker can leave the plates undergraduated (some of our mothballed 1980's to 90's German rental fiddles fit that bill quite nicely), but I suppose there's a real art to balancing heavy graduations with an accommodating bass bar and arching as well. Just my thoughts for the day...

[Nick Allen]

Some of that calls back to if a violin actually plays in over time or not. 

[Will L]

That's very interesting about the Lewis and Sons ad.  It would be more common to say "heavy in wood to guarantee continual development of the tone," for example.  To say they were "slightly disappointing when new" might have impressed some prospective buyers by its seeming brutal honesty.  (If they really wanted to impress they could have said:  "Make your kid break in this violin for the first 30 years because it will be garbage and make people's fingers fall off and ears ring."  Now THAT'S honesty.)

I wonder who might be considered the "father" of Chicago making?  Hornsteiner, perhaps?  The Beckers certainly must have been the Stradivari family of Chicago, and they produced very masterful instruments from the beginning.  From one 1916 Carl Senior I had he showed absolute genius for antiquing.

I've only seen one Sindelar and it seemed to be one level down from a Becker.  Still a very lovely instrument.  If you google "images of Carl Becker violins" you'll find a picture of the back of a violin—about 10 pictures in—which is a Sindelar.  Gorgeous!

I would like it if you could post a picture of an Einsele.  I don't recall hearing of him.

You left out Kinberg, but maybe because he wouldn't have gone back as far as those you've mentioned.  There used to be two camps for a while—so I've heard—between Kinberg and Becker owners.  There was a running feud, probably more in jest than not. 

 

 

[Woodland]

Here's the Einsele. It seems pretty consistent in the modeling, notably the short stubby corners, compared to other photos I've seen. Later in Einsele's career he was supposedly importing violins in the white from Garimberti. Years back Al Stancel remarked the Garimberti corners would have been longer and more elegant than Einsele's. When I first laid eye's on this fiddle form across the sales counter the word "German" flashed through my head, which is the same initial reaction I had when I first spotted our Sindelar. I was wrong on both counts, both our fiddles were Chicago boys.

[Woodland]

As far as the Sindelar goes, I'm familiar with that photo. Yes, gorgeous varnish on that one. Ours looks quite different from that, and from what I understand Sindelar varied his varnish composition over the years. I always felt that the one in our collection was kind of a stand-alone Sindelar, until I came across a 1933 in the Tarisio archives just the other day. The similarities are striking. The link to the 1933 is here https://tarisio.com/cozio-archive/property/?ID=66754 and the photos of ours is below.

 

[Will L]

Woodland,

Thanks for posting both of those.

Are you talking about Ferdinando Garimberti?  I didn't know he did any "in the white" projects.  I wonder if you know more about this.  He's one of my heroes.  He didn't do very many del Gesu patterned instruments signed as his own. I don't believe there is one example in the book on him.

As for Sindelar, according to Henley he too, along with Becker, was a Hornsteiner pupil.  Maybe I'm exaggerating but I think I see some resemblance between the two and it makes me wonder how much Hornsteiner we see in their work.

[Woodland]

Yes, it's been recorded that Ferdinando Garimberti made a number of instruments for Einsele later in his career. These were then were allegedly varnished by Einsele or his assistant Tetto Gallo. 

I have read that Sindelar was a pupil of Hornsteiner. The Beckers worked for Lewis and Son whereas Sindelar war reported as working for Lyon and Healy before going out on his own. I have also read that Sindelar was a teacher of Becker, but I don't know for sure if that's accurate. A few years ago I acquired the shop notes of a local violin maker who attended workshops taught by Sindelar, Becker, Kinberg, Ole Dahl, Pinter and numerous other Chicago luthiers. In his notes I found a reference that Sindelar and Becker actually co-owned the Becker cottage in Wisconsin, and Becker later bought out Sindelar's share. So who actually taught who and where isn't exactly known for sure, but there was an apparent relationship between the two.

[Ganymede Piggot]

15 hours ago, Woodland said:

Although I've never played a Becker instrument, from what I've heard they seem to fall into that tonal category by reputation.

The violin here is a 1949 Carl Becker, I believe.  I hear a really beautiful sound there, bright and metallic with depth.

https://www.youtube.com/watch?v=F5WY1JQctQA

 

[Will L]

2 hours ago, Woodland said:

So who actually taught who and where isn't exactly known for sure, but there was an apparent relationship between the two.

I believe Sindelar was 3 or 4 years older than Becker, so I doubt he would have been more than a friend who was learning at the same time.  The two would have had to be friends to get a working retreat together.

I really am enjoying reading some of the information you're providing.  Thanks.  

[David Pope]

Woodland,

In the 1990s I helped Dan Draley, in a small way, when the last of Frank Sindelar's things were being sold off because Frank's son was moving out of the house. At that time I was told because Frank was a few years older, and already at Hornsteiner's when Carl Becker came, he was in charge of instructing Carl at the beginning until Carl reached a point that Hornsteiner took over. This might give some evidence to the notion that Frank taught Carl, even though it may have been very little.

I was able at this time to acquire a very nice Sindelar viola from what was left of Frank's instruments.

[Will L]

Welcome to Maestronet David,

I would love to hear anything you can tell about Dan Draley.  I only saw him twice and bought his Amati book.  He seemed like a wonderful and helpful guy.  He wrote all sorts of little notes in my book which I really treasure.

Did he spend much time in Chicago over the years?

http://www.schultzfuneralhomes.com/notices/Daniel-Draley

 

 

[Dwight Brown]

I have a Chicago school viola bow by Frank Kovanda.  It is a bit of a war club, but after some very nice work by my favorite bow guy it is pretty nice.

 

DLB

[David Pope]

Will,

Dan's obituary just about says it all. Being raised in the Chicago area, as his wife was, he spent a lot of time trading with the owners of the major shops in Chicago, and New York, up until he was no longer able to travel. I began doing repairs for him in the late 1970s and continued to do so until his death. He'd be down to my shop, about 30 minutes south from Dewitt, it seemed almost very week to show me his newest find or to have some adjustment made. He was a great guy and very down to earth. The stories over those many decades are too numerous to recount - some humorous, some mundane, and some too confidential for a forum setting.

[Richf]

If anyone has any good color pics of John (Johann) Hornsteiner work, could you share them here?  Apparently, examples only rarely show up in the market place -- even Wenberg could find no photos for his book.  He trained in Mittenwald, so I always assumed his work would look like good late 19th-century Mittenwald production.  

[LeMaster]

I don't know how relevant you consider my comment to the thread, but I can reliably say Becker cellos are highly valued today (sorry, I don't know which Becker).  I know in recent years one sold to a professional orchestral player for $125,000.

[Will L]

52 minutes ago, Richf said:

If anyone has any good color pics of John (Johann) Hornsteiner work, could you share them here?  Apparently, examples only rarely show up in the market place -- even Wenberg could find no photos for his book.  He trained in Mittenwald, so I always assumed his work would look like good late 19th-century Mittenwald production.  

John Hornsteiner seems to be a mystery, strangely enough. In Henley he is listed as Johann ( l ), and it says he was born in Mittenwald, but worked with Edler in Frankfurt and Neuner in Berlin before coming to Chicago.  Henley claims he made 300 violins and 15 'cellos, so there ought to be someone who has one.  Claims he used plain but acoustically good wood  (I always wonder how this phrase got started!)  

[Will L]

32 minutes ago, LeMaster said:

 (sorry, I don't know which Becker).  I know in recent years one sold to a professional orchestral player for $125,000.

I may be wrong but I believe it doesn't make much difference in price whether a Becker is by Sr. or Jr. or made in collaboration.

There may be exceptions. The early 1916 Sr. I mentioned which was beautifully antiqued would probably bring a premium.

I wonder if the very late Jr. instruments might not go for the most of all, at least eventually.  They are much warmer looking to my eye than all the violins that were made with greater precision when he was younger.  They show such "humanity."  

[Bacon]

You will find perhaps the best example of John Hornsteiners work as a featured instrument in The Strad magazine, around 8-10 years ago. Honestly I was ever so relieved to see it as all I see pass thru my shop are the Hornsteiner /Neuner production instruments, not exactly the work of one credited with schooling some of the best American makers of the day. My great grandfather owned the Hornsteiner  shop on Adams in Chicago in the early nineteen hundreds. Both my grandfather and his brother worked in the shop along with the aformentioned and I was raised with wondrous violin tales at the Sunday dinner table. 

[nathan slobodkin]

2 hours ago, Will L said:

I may be wrong but I believe it doesn't make much difference in price whether a Becker is by Sr. or Jr. or made in collaboration.

There may be exceptions. The early 1916 Sr. I mentioned which was beautifully antiqued would probably bring a premium.

I wonder if the very late Jr. instruments might not go for the most of all, at least eventually.  They are much warmer looking to my eye than all the violins that were made with greater precision when he was younger.  They show such "humanity."  

I haven't seen any of the instruments from the end of his life but would assume Paul Becker did a lot of the work. As with many really clean makers some of Carl's work can look a bit sterile and it takes a trained eye to see the personality under the surface. Personally my favorite  Beckers are the ones from the late forties and the fifties when the two Carl's were working together. Really wonderful instruments.

 

[Will L]

I can't say for sure, but I saw pictures of two or three which were his very last, and I don't think the rich, more Cremonese look could have been because of Paul.  But I could be wrong; I hope I'm not.  Anyway, I wish the person that showed me the pictures would post them. 

So far my favorites playing-wise are from the '20s.  But I don't think they ever put out anything but top work for all those decades.  Tonally, people can argue.

[GlennYorkPA]

On 2/10/2017 at 7:54 PM, Woodland said:

 I've also been in touch with a fellow Maestroneter who owns an Anders Halvarson violin (also of the William Lewis & Son shop), who claims that it's something in the bright/powerful category of sound. 

Woodland,

I, too, have a violin by Anders Halvarson and can confirm it has a bright and very powerful sound. Nothing shy about it. Mine is labeled Meyers-Halvarson and dated 1937. It has an addition small label #58. By this time Halvarson was in partnership with William Meyers who was a business partner and had not part in making violins. In fact, Halvarson is better known for his bows and I would dearly love one to accompany the violin but I have never seen one.

Even the violins are quite rare and rarely come onto the market because their owners are loathe to part with them. From Wenberg, I learn that Halvarsson worked for William Lewis & Sons in Chicago and I also believe he was associated with the Singular/Becker school but I'm not sure in what way. The varnish is soft and almost identical to a Becker.

 

 

[Richf]

Great photos, Glenn!  Sometimes I can get the resolution sharp, but I never never can avoid taking photos that distort the relative size of the upper and lower bouts.  Wish someone could find a John Hornsteiner photo as good.  I would love to see pictures of all these Chicago school (Hornsteiner school?) instruments in one place.

Richard

[Ron1]

David Bromberg gave a presentation on Chicago and Midwest luthiers at the American Violin, at the Library of Congress a number of years ago.  As I recall, he practically pleaded, several times over, for anyone who knew of a Hornsteiner instrument, to please contact him.  His presentation really emphasized the virtues and importance of John Hornsteiner, who was clearly the focus of his presentation.  However, Bromberg stated that only one of his instruments was known to exist.  I believe it is the one illustrated in his article in Strad magazine, mentioned previously in this thread.  Perhaps, by now, another of his instruments has been located.. 

[GlennYorkPA]

2 hours ago, Richf said:

Great photos, Glenn!  Sometimes I can get the resolution sharp, but I never never can avoid taking photos that distort the relative size of the upper and lower bouts.  Wish someone could find a John Hornsteiner photo as good.  I would love to see pictures of all these Chicago school (Hornsteiner school?) instruments in one place.

Richard

Richard,

I don't do anything special. I just use a small digital camera but I find it better to stand further away and use zoom to get detail. If you are too close, the shape doesn't look right owing to optical distortions.

Glenn

1 hour ago, Ron1 said:

David Bromberg gave a presentation on Chicago and Midwest luthiers at the American Violin, at the Library of Congress a number of years ago.  As I recall, he practically pleaded, several times over, for anyone who knew of a Hornsteiner instrument, to please contact him.  His presentation really emphasized the virtues and importance of John Hornsteiner, who was clearly the focus of his presentation.  However, Bromberg stated that only one of his instruments was known to exist.  I believe it is the one illustrated in his article in Strad magazine, mentioned previously in this thread.  Perhaps, by now, another of his instruments has been located.. 

 

[GlennYorkPA]

12 hours ago, Ron1 said:

David Bromberg gave a presentation on Chicago and Midwest luthiers at the American Violin, at the Library of Congress a number of years ago.  As I recall, he practically pleaded, several times over, for anyone who knew of a Hornsteiner instrument, to please contact him.  His presentation really emphasized the virtues and importance of John Hornsteiner, who was clearly the focus of his presentation.  However, Bromberg stated that only one of his instruments was known to exist.  I believe it is the one illustrated in his article in Strad magazine, mentioned previously in this thread.  Perhaps, by now, another of his instruments has been located.. 

Ron,

Do you recall in which year the article on Hornsteiner appeared?

I'd like to locate it if possible.

What was the relationship between Hornsteiner, Becker Sr and Lewis & Sons?

Glenn